Search results

Title: [Group portrait with George and Catherine Rupp Doering in the country]
Description: Depicts George and Catherine Rupp Doering posed with a group of three white men and three white women sitting and lounging on top of an old stone foundation. Two young African American boys, attired in hats, shirts, jackets, pants, and shoes, sit on the ground in front of the stone wall and look at the viewer. Behind the wall are a number of trees., Title supplied by cataloger., Gift of Albert L. Doering, 1994., Description revised 2022., Access points revised 2022., 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.
Creator: Doering, William Harvey, 1858-1924, photographer
Date: [ca. 1895]
Location: Library Company of Philadelphia | Print Department lantern slides - Doering [P.9453.70]

Title: [Three-quarter length portrait of an unidentified young African American woman]
Description: Three-quarter length portrait of a young African American woman standing with her left hand resting on a side table covered in a patterned tablecloth. She wears her hair tied back with curls at the top of her head and is attired in a patterned shirtwaist with a high-neckline, a ruffled collar, and lace cuffs, and a matching skirt. The background is a painted backdrop of a parlor., Photographer's imprint stamped on mount., Title supplied by cataloger., Date inferred from operation of the photography studio and attire of the sitter., Purchase 2001., Description revised 2022., Access points revised 2022., 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., Parlor Gallery, operated by Lewis Horning, was in business at 525 South 9th Street from around 1886 until around 1894.
Creator: Parlor Gallery (Firm), photographer
Date: [ca. 1891]
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photographer - Parlor [P.9957.8]

Title: Certificate of marriage
Description: Marriage certificate illustrated with vignettes within an ornamental border. Depicts vignettes representing peace and love including doves near an altar with an eternal flame, and cherubs floating on clouds, reaping grain, and rowing a gondola., Issued to John A. Jones and Mary Anne Dickerson. Signed by Rev. William Douglass, officiant, and by Samuel Van Brackle and George W. Hopewell, witnesses., Copyright secured., Title from item., Date based on date of the event represented., Purchase 1993., Description revised 2021., Access points revised 2021., Croome, Meignelle & Co. was a Philadelphia engraving firm operated by engraver, William Croome, and banknote engraver, James Meignelle in the 1840s.
Creator: Croome, Meignelle & Co., engraver
Date: [ca. 1846]
Location: Library Company of Philadelphia | Print Department *albums (flat) [P.9427] - Dickerson Family Collection - Miscellaneous

Title: [Three-quarter length portrait of an unidentified African American woman]
Description: Three-quarter length portrait of an unidentified, young African American woman facing forward. She wears her hair parted to the left and pulled back over her ears and tied behind her head in a bun. She is attired in spectacles, a dark-colored, long-sleeved, satin dress with a lace collar and cuffs, and a locket. She sits on a wooden chair with her left arm draped over the arm rest and her right hand on her lap., Photographer's imprint stamped on mount., Title supplied by cataloger., Purchase 2001., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Withers, William C., photographer
Date: [ca. 1910]
Location: Library Company of Philadelphia | Print Department *portrait photographs - unidentified sitter [P.9957.9]

Title: [Employees of Ridgway & Pancoast, produce warehouse, 110 Mattis Street, Philadelphia]
Description: Depicts five men employees, including an African American man, posed near barrels outside of the produce warehouse operated by Joseph Ridgway and Isaac B. Pancoast at 110 Mattis Street, Philadelphia from about 1883 to 1890. In the left, the African American man, wearing a mustache and attired in a brimmed hat, a white collared shirt, a waistcoat, a torn and worn jacket, pants, and shoes, stands beside a barrel with his left hand touching the top of it. To the right, a white man, wearing a mustache and sideburns and attired in a tall bowler hat, a white collared shirt, a tie, a waistcoat with a pocket watch chain, a jacket, pants, and shoes, stands and looks at the viewer with his arms crossed over his chest and his left leg crossed over his right. In the middle, the white man, wearing a mustache and attired in a brimmed hat, a white collared shirt, a bowtie, a waistcoat, a jacket, pants, and shoes, stands and carries an axe in his left hand and another tool in his right hand. To the right, the white man, wearing a mustache and attired in a bowler hat, a white collared shirt, a tie, a waistcoat, a jacket, pants, and shoes, stands and looks at the viewer. In the right, the white man, wearing a beard and attired in a white collared shirt, a tie, a jacket, pants, and shoes, sits on top of a barrel with his legs crossed. In the background, a scale, wooden bushels, and wooden barrels are visible., 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., Photographer's imprint stamped on verso., Title supplied by cataloger., Date inferred from dates of operation of the business and attire of the sitters., Purchase 2001., Description revised 2022., Access points revised 2022.
Creator: Foley & Baxter, photographer
Date: [ca. 1886]
Location: Library Company of Philadelphia | Print Department PRIMT photo - 5x7 - Foley & Baxter [P.9957.6]

Title: [Photographic reproductions of the Cartoon Printing Co. series after the 1878 Harper’s Weekly "Blackville" series “The Twins”]
Description: Photographic reproductions of drawings based on a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Includes "No. 1 The Flirtation" showing the "Twins" meeting their suitors; "No. 2 The Introduction" showing the "Twins" being formally introduced to their suitors; "No. 3 The Courting" showing the "Twins" being courted together; "No. 4 The Proposal" showing the "Twins"suitors proposing to them in different manners; "No. 5 The Duel" showing the "Twins" suitors preparing to duel with guns; "No. 6. The Wedding" showing the "Twins" dual wedding; "No. 8 Return from the Honeymoon Tour" showing the "Twin" couples promenading in town; "No. 9 Coming Events" showing the town doctor and the husbands of the "Twins" racing down a dirt road on donkey back; and "No. 10 The Event Or Where '2 Pair is Better Than 4 of a Kind'"showing the arrival of the "Twins" twins., Title supplied by cataloger., Date from copyright statement on four of the original drawings in the series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on versos: McGreer Chicago., Series missing No. 7. The Wedding Feast., Name of publisher inscribed on four of the original drawings in the series (No. 2-3, 6, and 9)., Inscribed on two of the original drawings in the series (No. 2 and 8): Remodeled from sketch in Harpers Weekly or Reproduced from sketch in Harpers Weekly by the Cartoon Printing Co. Chicago., Inscribed on one of the original drawings in the series (No. 3): Reproduced from sketch by Sol Eytinge in Harpers Weekly by the Cartoon Printing Co. Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., John McGreer (1833-1905) was a dime museum painter, landscape artist, and cartoonist. He worked in Chicago after 1870 and was a partner in the novelty and satire printing firm Cartoon Printing Co., later Cartoon Publishing Co., by the early 1880s. In 1897, he patented statuettes of African American caricatures for use as cardholders. He resided in New York and was noted as a landscape artist at the time of his death in 1908., See Shawn Michelle Smith, Photography on the Color Line: W. E. B. DuBois, Race, and Visual Culture (Durham: Duke University Press, 2004), 82-86., RVCDC, Description revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.1-9]

Title: No. 1. The flirtation
Description: First scene based on a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the African American twins greeting two African American men. They depart from the gate of their log cabin home, attired in polka dot dresses, aprons, and turned-up brimmed hats. They smile at the two African American men as they begin their walk. One twin lifts her handkerchief. One of the men is tall and thin and he tips his hat. The other is shorter and squat and has a hand on his chest. The men are attired in suits with striped pants that are hemmed high. The twins' log cabin home with their parent's seeing them off is visible in the left background. Background also includes the log cabin with "Dr. Black’s Office"; the town church; a "Dry Goods and Clothing” store; a "Saloon"; and a "Hotel.”, Title from item., Name of publisher from other photographs in series., Date from copyright statement on original drawing: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.1]

Title: No. 2 The introduction
Description: Second scene based on a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the “twins,” side-by-side, curtseying to their two male suitors (one tall and one squat) who stand across the parlor. The tall one bows with his hat in hand. The suitors’ mother, portrayed with a face with many wrinkles and attired in a polka dot dress, stands between the pairs. The room is adorned with a table that holds a vase of flowers, an album, and a glass. Framed pictures, including a portrait, as well as a cuckoo clock adorn the walls near a window with a partially rolled-up window shade. The twins are attired in polka dot dresses and the men in suits., Title from item., Inscribed on original drawing: Remodeled from sketch in Harpers Weekly., Date from copyright statement in other photographs in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Name of publisher from other photographs in series., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.2]

Title: No. 3 The courting
Description: Third scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the twins and their suitors, seated in an open room with a stove by a mantle. In the left, one twin sits face to face with her tall suitor. She looks down and raises her hand to her mouth. In the right, the other twin sits next to her suitor and smiles. The twin holds a fan to her face. A hat and coat hang on the wall above them. The twins' parents watch from a doorway in the left background. The twins are attired in polka dot dresses and the men in suits., Title from item., Inscribed on original drawing: Reproduced from sketch by Sol Eytinge from Harpers Weekly., Date from copyright statement in other photographs in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Name of publisher inscribed on original drawing., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.3]

Title: No. 4 The proposal
Description: Fourth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the twins and their suitors, seated in an open room with a stove by a mantle. The tall suitor of the twin in the left kneels on the floor, his chair fallen behind him, and proposes to her as he holds her right hand. She covers her mouth with the other. The twin of the couple in the right sits on her suitor’s lap as he holds her. Her foot rests on his hat on the floor, and she holds a fan down on her legs. The parents of the twins, an older couple, stand, their mouths ajar, in an open entryway in the left background. Keepsakes and knick knacks adorn the mantle behind the stove. A coat and hat hang above the couple in the right. The twins are attired in polka dot dresses and the men in suits., Title from item., Date from copyright statement inscribed on original drawing: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Name of publisher from other photographs in series., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.4]

Title: No. 5 The duel
Description: Fifth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows two African American men (i.e., the suitors of the twins), attired in suits, at the start of a duel in a pasture between two trees. The suitor with a squat figure is in the right and the tall suitor in the left. They point guns at each other and look aghast. An African American man (witness), attired in a ruffled suit and hat, stands behind the tree in the foreground and another, in shirtsleeves, kneels behind the tree in the background. “Dr. Black M.D.,” an older African American man, sits behind the standing observer with his medical bag, labeled “Dr. Black M.D.,” in one hand and a medicine bottle in the other. Figures representing the twins are visible in the distant left background near their log cabin., Title from item., Publication information from copyright statement in other reproduced drawings in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of publisher from other reproduced drawings in series: Cartoon Printing Co., Name of artist stamped on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.5]

Title: No. 6 The wedding
Description: Sixth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Shows the twins getting married in the parlor in which they were introduced to their fiancés (see No. 2 The Introduction). The twins are attired in white wedding dresses and veils and their betrothed in formal suits. An older African American reverend stands in front of them and officiates. Their relatives, including an older woman, attired in a bonnet, and seated in a rocker and holding in her lap a boy, attired in a striped suit with ruffled collar, watch the nuptials from behind them. "Dr. Black" and other acquaintances watch from through a doorway. Framed pictures adorn the wall. A table with a cake and a decanter with glasses is visible behind the reverend., Title from item., Name of publisher inscribed on original drawing: Cartoon Printing Co. Chicago., Date from copyright statement in other photographs in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.6]

Title: No. 8 Return from the honeymoon tour
Description: Eighth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Shows the twins and their husbands in fashion-forward attire promenading down the street of their small town. In the right, an older man in the stance of the minstrel character of Jim Crow, and an older woman attired in a bonnet, polka dot dress, and apron, and leaning on a tree laugh at the couples as they approach them. From a distance, "Dr. Black" watches them from astride his donkey. Townscape, including a storefront with signage reading “Groceries” and “Watchin Dun Hyar,” as well as a “Eatin House” and saloon is visible in the background. Figures are visible in the windows of the grocery store., 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. Jim Crow (mid to late 19th century) was a Minstrel character representing enslaved/rural Black manhood as foolish, lazy, interested in shirking labor., Title from item., Inscribed on original drawing: Reproduced from sketch in Harpers Weekly by the Cartoon Printing Co. Chicago., Date from copyright statement in other photographs in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist from stamp on verso: McGreer Chicago., Description of Blackface minstrelsy and minstrel character from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.7]

Title: No. 9 Coming events
Description: Ninth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Shows "Dr. Black MD" on his donkey racing with the twins' husbands on their donkeys down a dirt road along a river. A raft sails on the river past a log cabin and a dwelling with smoke-spewing chimneys is visible in the background., Title from item., Name of publisher inscribed in original drawing., Date from copyright statement inscribed in original drawing: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist from stamp on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.8]

Title: No. 10 The event Or where "2 pair is better than 4 of a kind"
Description: Tenth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Shows the tall husband of one of the twins, twin babies in hand, arriving at the home of the other twin and her husband after the birth of their twins. In the right, the twin lies in bed under the covers as “Dr. Black” turns to the entryway and prepares to give her a spoonful of medicine. Near them is the bed-ridden twins' husband, seated and feeding one baby twin a bottle as the other rocks in a cradle. To his right, the “grandmother,” attired in a bonnet, glasses, polka dot dress, and apron raises her hands in excitement as she greets the arriving husband of the twin's sister. A stool, framed pictures, and a sideboard adorn the room., Title from item., Name of publisher from other photographs in series., Date from copyright statement inscribed in original drawing: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist from stamp on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.9]

Title: I sell the shadow to support the substance. Sojourner Truth
Description: Three-quarter length portrait of the African American itinerant preacher, abolitionist, and women's rights advocate born into slavery and originally known as Isabella Baumfree. Shows Truth, seated, and attired in a dark-colored, long sleeved dress with white collar, white shawl with fringe, and a white cap. She wears wire-rimmed glasses and faces front and is turned slightly to her left. She holds knitting in her left hand which rests on a small table that has a decorative table cloth. A notebook and vase of flowers adorn the table. A string of yarn runs across her lap. Truth escaped to freedom in 1826. During the period of the Civil War, Truth captioned, marketed, copyrighted, and sold at least eleven different carte-de-visite portraits of herself at her lectures and through the mail to earn personal funds and advocate for the abolition of slavery. Her knitting probably alludes to her promotion of the handcraft as an industry for advancement for former enslaved persons., Title from item., Publication information from copyright statement on verso: Entered according to act of Congress in the year 1864, by Sojourner Truth, in the Clerk's Office, of the U. S. District Court, for the Eastern District of Mich., Lib. Company. Annual report, 2016, p. 66-67., Description revised 2022., Access points revised 2022.
Date: 1864
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Truth [P.2017.27]

Title: [Unidentified African American woman]
Description: Near full-length portrait showing an African American woman attired in a narrow-brimmed, high-domed, ornamented bonnet; dark-colored, button-down shirt waist; and white skirt with ruching at the hips. A broach with a four-leaf clover detail adorns her collar. She stands between a post to her right and a stringy, hay bale-like prop to her left. She rests her left hand on the prop and holds a parasol perpendicular to the floor in her right. A photographer's head clamp is positioned to the left of the post and a backdrop illustrated with an outdoor setting is visible in the background. The studio is partially visible in the left of the image., Title supplied by cataloger., Accompanied by detached photographer's label (P.2017.14.4b)., Date inferred from "N.B." on photographer's label., Description and access points reviewed 2022.
Creator: Fenton, J., photographer
Date: [ca. 1867]
Location: Library Company of Philadelphia | Print Department tintypes - photographer - Fenton [P.2017.14.4a&b]

Title: [Robert Swayne collection of Philadelphia photographs]
Description: Collection of photographs documenting Philadelphia cityscapes, neighborhoods, landmarks, churches and benevolent institutions, businesses and factories, street views, and local events. Images depict interiors, exteriors, and alleyways. Many views include storefront signage; utility poles and street clocks; railroads and stations; and street and pedestrian traffic, as well as show the Western, Southern, and Northern sections of the city. Subjects depicted include All Saints Church (Torresdale); Cliveden; views along the Delaware River; Fairmount Park and Waterworks; Wissahickon Creek, Schuylkill River and Boathouse Row; Frankford Arsenal (1948); Philadelphia Gazette Building (924 Arch Street); the WCAU building (Bala Cynwyd) ; Rittenhouse and Logan squares; the “Clothesline Show” at Rittenhouse Square: a ca. 1930 view of a baseball game at the Baker Bowl, i.e. National League Park (2622 North Broad St.); the power house of the Westinghouse Gas Engine Machinery (Manayunk); the attic and basement of the original United State Mint (37-39 N. 7th Street, built 1792) photographed ca. 1890 by Newell & Son; interior of the second Mint Building (Broad and Chestnut);, the construction of the Delaware River, later Benjamin Franklin, Bridge (ca. 1924), Hahnemann Hospital (1928), Philadelphia Municipal, later JFK, Stadium (ca. 1926); the interior of an unidentified bakery (53rd and Vine) photographed ca. 1905 by C.H. Miller; interior and exterior of Geo. W. Einselen, Fine Cake Bakery and Ice Cream Saloon (1372 Somerset St.) photographed 1904 by Joseph Pearce; progress photographs photographed 1926 of the property of “Philadelphia Brick Co. Required for P.R.R. Temporary Track” and photographed 1921 by J.E. Bewley of and near the 3400 block of North 5th Street ; “Stephen Girard's ‘Alleged Slave Dungeons,’ Front & Market Streets uncovered by demolition” photographed 1906-1907 by John Trautwine, likely the civil engineer (P.2017.88.37.1-7); ca. 1880s studio portraits of adult and child mummers photographed by Richter & Co.; workers on scaffolding attached to the Nixon Building (20 S. 52nd St.); an exterior view photographed ca. 1873 by Newell & Son of the carpenter shop of Clarkson Fogg in front of which numerous household implements and furniture are lined, as well as men, women, and children, including a policeman are posed (449 N. 10th St.); ca. 1868 view of the 100 block of North Third Street, including the storefront for Dr. Stoever's Bitters manufactured by Kryder & Co (121 N. Third); Maryland Metal Bldg. Co. Incorporated classroom modules for the Philadelphia School District (ca. 1924); ca. 1920 advertising photos for an unidentified lighting company of examples of their work in Philadelphia manufactories with sewing machines (Greenwald Bros., Inc., 313 Arch St. and Trio Waist Co., 821 Arch St.) and of the moulding room of S.J. Cresswell Iron Works (2250 Cherry St.); the ca. 1905 interior of the cigar store of Ramon Azogue (102 S. 8th St.);, ca. 1930 view of the hairdressing salon at the Benjamin Franklin Hotel; ca. 1895 view of the interior of the Bourse (i.e., Philadelphia Stock Exchange); and a ca. 1930s exterior view of the Roxborough Home for Indigent Women (601 Leverington Avenue). Other images show a WWI benefit parade "to Keep the War Chest Filled" (1419 N. 2nd St.); a ca. 1900 lavish display of elaborately-decorated cakes photographed by William Phillipi; a posed WWI publicity still with release statements on the verso for Eastman Kodak showing Anna B. Graham with a camera and a young girl in a nurse’s uniform photographed by William F. Langrock; the storefront of a women’s owned business (Mrs. R.T. Anderson); a ca. 1920s contact sheet of variant bust-length portraits of a young woman photographed by the Lipp Studio; and the Walter Lippincott family posed on the porch of a residence., Portrait photographs, including of engraver John Sartain (P.2017.88.77.1 & 2), African American Rev. C. M. Tanner (1869-1933)(P.2018.66.4), John McAllister, Jr. and family members, and “physio-psychism” researcher Emil Sutra (P.2018.66.2) by Philadelphia photographers and occupational, school, and organizational group portrait photographs also comprise the collection. Group portraits document the Bellview Wheelmen; a class trip to the Franklin Institute; and performers attired in leotards, including jugglers, titled “Mr. Jonathan Evans, Haines & Cheer St.” Collection also includes William Stuart McFeeters family photograph album; a small number of images depicting African American men (P.2017.88.11, P.2017.88.61, P.2017.88.76.9 & 38); an organizational group portrait with a man with dwarfism (P.2018.66.15); candid snapshots, including ca. 1900 views of women using cameras along the Schuylkill River; and two film negatives depicting the WCAU building., Title supplied by cataloger., Various photographers, including Frank B. Cassel; William Bell; Berry & Homer; J. E. Bewley; Coward & Shannon; Harry A. Derr; Eagle Photo View Co.; Empire Photo Co.; H. Fetters; S.M. Fisher; Frederick Guteknust; Hansbury Studio; Henry C. Howland; Keystone Instantaneous View Company; William J. Kuebler; William F. Langrock; Lipp Studio; Charles Luedecke; F. Mattes; Monarch Photograph & Publishing Co.; Marriott C. Morris; Robert Newell; Newell & Son; Newell Studio; C. H. Miller, C. R. Pancoast; Joseph N. Pearce; William Phillipi; William Rau; Frederick DeBourg Richards; Schreiber; George Sheridan; Alfred Taylor; John Trautwine; Universal Photo Service; and W. D. Weland, Cartes-de-visite portraits of John Sartain (P.2017.88.77.1 & 2) housed separately and with cdv portraits – sitters - S., View by Schreiber of horse cart racing (1903) housed separately and with *photo – Schreiber., Cartes-de-visite portrait photographs of John McAllister, Jr. and family members (P.2017.88.79-102) housed with the McAllister Family Portrait Collection - cartes-de-visite., Electronic inventories of collection available at repository., See Lib. Company. Annual report, 2016, p. 64-65., RVCDC, Access points revised 2022., Robert Swayne (1927-2011) was a West Chester antique dealer, collector of vernacular photographs, and local writer about the Civil War.
Date: [ca. 1860-ca. 1952]
Location: Library Company of Philadelphia | Print Department Swayne Collection [P.2017.88 & P.2018.66]

Title: Rev. C.M. Tanner, Philadelphia, Pa., April 17, 1896
Description: Bust-length portrait of Carlton Miller Tanner (ca. 1869-1933), the African Methodist Episcopal clergyman, missionary, author, and brother of artist Henry Ossawa Tanner. Depicts Tanner, his head turned slightly right, attired in a white clerical collar; dark-colored, button-down vest; and dark-colored jacket with notched lapels. His hair is cropped short and he wears a mustache. Tanner, born in Philadelphia, was a graduate of the Institute of Colored Youth and Divinity School of the Protestant Episcopal Church in Philadelphia. Holding a Doctor of Divinity from Wilberforce University, Payne Theological Seminary, Tanner began work as a pastor about 1893 and presided over the A.M.E. churches Big Bethel Church (Atlanta, Ga.) in the early 1900s and Metropolitan Church A.M.E. (Washington D.C.) between 1917 and 1922. Tanner also established the South African Christian Recorder in 1902 and wrote a "Manual of the A.M.E. Church." He passed away while a resident of Chicago, IL., Title and date from manuscript note on verso., Photographer's imprint blindstamped on mount., Description reviewed 2022., Access points reviewed 2022.
Creator: Kuebler, William J., photographer
Date: [April 17, 1896]
Location: Library Company of Philadelphia | Print Department Swayne Collection [P.2018.66.4]

Title: [African American woman playing tambourine]
Description: Snapshot photograph showing an African American woman outside and playing a tambourine between two white women who play guitars. The white woman in the left is partially removed from the view and the white woman in the right is partially obscured by the woman playing tambourine. The tambourine player has her hair pulled back and wears a silk shawl and long, ruffled, tiered skirt. Spectators, including an African American boy attired in overalls, and white men attired in summer suits stand near and behind the women. Wooden warehouse and barn-like structures, including one with signage reading "Sterline," are visible in the background., Title supplied by cataloger., Date inferred from format of photograph and attire of sitters., Gift of Ivan Jurin, 2019., Description revised 2022., Access points revised 2022.
Date: [ca. 1925]
Location: Library Company of Philadelphia | Print Department portrait photographs - misc. - sitter - female [P.2019.2.1]

Title: Future rulers of Florida U.S.A
Description: Racist scene showing an African American family of a mother, father, and four children seated on the porch to a wooden dwelling. In the left, the mother breastfeeds her youngest child, a baby. She is seated next to her three older, but young children. The father sits to the right on the other side of the children who sit and stand. He has his arm behind the next to youngest child. The mother is attired in a kerchief, plain shirtwaist, and long, plain skirt. The father wears a vest, shirt sleeves, pants, and work boots. The children are attired in worn shirts and the oldest also in worn pants., Title printed on negative., Yellow mount with curved corners., Date inferred from format of stereograph., Gift of Ivan Jurin., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department stereo - unid. photo - Portraits & Genre [P.2019.2.2]

Title: [Looking east on the 1600 block of Market Street, Philadelphia]
Description: View showing street construction by the Philadelphia Rapid Transit Company of the Market Street Subway across from the Broad Street Station (built 1879-1882). In the foreground, a number of African American construction workers stand in a pit. In the background is another pit with more construction workers. Pedestrians and spectators look on at the scene. Several businesses on the south side of the 1600 block of Market Street, including "Cronin's," are visible. Also shows several horse-drawn wagons traveling past the rail station, and theater advertisements adorning construction equipment., Title supplied by cataloger., Date inferred from a closely-numbered photograph in the series with an inscribed date., Inscribed in negative: 555., Gift of Steven Dorfman, 2013., Description revised 2022., Access points revised 2022.
Date: [1904]
Location: Library Company of Philadelphia | Print Department photo - unidentified - Construction [P.2013.6.5]

Title: [Looking east on the 2100 block of Market Street, Philadelphia]
Description: View showing street construction by the Philadelphia Rapid Transit Company of the Market Street Subway in a large, deep pit on the 2100 block of Market Street. The construction workers include white and African American men. Shows men spectators looking down at the pit. Men fill horse-drawn carts with dirt, and theater advertisements for the "Famous Ithaca Band" at Willow Grove Park adorn construction equipment., Title supplied by cataloger., Date inscribed in negative: 9-17-04., Inscribed in negative: 579., Gift of Steven Dorfman, 2013., Description revised 2022., Access points revised 2022.
Date: [September 17, 1904]
Location: Library Company of Philadelphia | Print Department photo - unidentified - Construction [P.2013.6.9]

Title: [Looking west on the 2100 block of Market Street, Philadelphia]
Description: View showing street construction by the Philadelphia Rapid Transit Company of the Market Street Subway in a shallow pit on the 2100 block of Market Street. The construction workers include white and African American men. Also shows cityscape, trollies traveling in the street, spectators, and construction equipment., Title supplied by cataloger., Date inscribed in negative: 7-22-04., Inscribed in negative: 563., Gift of Steven Dorfman, 2013., Description revised 2022., Access points revised 2022.
Date: [July 22, 1904]
Location: Library Company of Philadelphia | Print Department photo - unidentified - Construction [P.2013.6.7]

Title: Before Girard Bank on Broad & Chestnut
Description: View looking north from the east side of Broad and Chestnut Streets showing part of the 000 block of Broad Street and City Hall. Shows in the left, the West End Trust & Safety Deposit Co. skyscraper building built 1898 after the designs of Furness, Evans & Co. at 1404 South Penn Square. Adjacent buildings on Broad Street include one adorned with "For Rent. B. F. Teller & Bro. 606 Chestnut St." signage. View also includes street and pedestrian traffic. In the left foreground, an African American man, attired in a bowler hat and jacket, walks with a bundle under his right arm. In the background, men and women, some as couples walk on the sidewalk near a utility pole and a horse-drawn carriage parked in the street. City Hall is visible in the far background., Title from manuscript note on verso., Date inferred from attire of pedestrian traffic documented in image., Description reviewed 2022., Access points reviewed 2022.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department Robert Swayne Collection [P.2017.88.61]

Title: Art exhibit at Rittenhouse Square - 1937
Description: View showing a young African American man looking at a display of art works from the "Clothesline Show" in Rittenhouse Square. The man stands to the right of the display composed of two, parallel rows of art hung on clothes lines strung between two trees. A collection of painted canvases rest under the lines in the left. The man stands near the opening to a pathway. A bed of flowers near a lawn of grass is visible in the foreground. The "Clothesline Show," later the Rittenhouse Square Fine art show began in June 1932 with the exhibition of art works within the square by arts students in the Arts Student League. In the following years, professional artists began to display their work as well and in 1976 the show was renamed the Rittenhouse Square Fine Arts Annual. In 2004 the show moved to the outside of the park. In 2005 it was renamed Rittenhouse Square Fine Art Show., Date and title from manuscript note on recto., Part of a number of views of the "Clothelines Show" [P.2017.88.76.5-11] taken by Fetters within a series of his work in the Swayne Collection [P.2017.88.76.1-52]. Most of the views include spectators and two views include the "Lion Crushing the Serpent" statue after the designs of Antoine-Louis Barye., Description reviewed 2022., Access points reviewed 2022.
Creator: Fetters, H.
Date: [1937]
Location: Library Company of Philadelphia | Print Department Robert Swayne Collection [P.2017.88.76.9]

Title: [African American man sitting near a building, probably in Philadelphia]
Description: View showing an African American man sitting on an enbankment next to a stairwell to a building adorned with ornamental ironwork. The man hangs his head down, his hands together, and his elbows on his knees. He is attired in a cap, jacket, pants and laced shoes. A jagged cobblestone walkway is visible in the foreground., Title supplied by cataloger., Date inferred from date inscribed on other photographs in the series., Part of a number of views taken by Fetters within a series of his work in the Swayne Collection [P.2017.88.76.1-52]., Description reviewed 2022., Access points reviewed 2022.
Creator: Fetters, H.
Date: [ca. 1937]
Location: Library Company of Philadelphia | Print Department Robert Swayne Collection [P.2017.88.76.38]

Title: [Group portrait with Captain William Wallace Rogers, 3rd Pennsylvania Cavalry, at military encampment in unidentified location]
Description: Group portrait of Captain William Wallace Rogers, 3rd Pennsylvania Cavalry, and seven individuals, including white military officers, a white boy, and an African American man posed in front of tents at an unidentified military encampment. In the center, Rogers, wearing a mustache and attired in a Union uniform and hat, stands with his right hand on his hip and his left hand on the back of a chair. Two Union officers sit in the left, one holding a sword. In the right, a bearded man sits, attired in shirtsleeves and with a pipe in his mouth and another man sits attired in uniform. To the right of Rogers, a man, attired in uniform, stands holding a flag on a pole. In the right, a boy, possibly a messenger or scout, attired in cap, shirtsleeves, and pants, stands with his left leg crossed over his right. In front of the men, an African American man, probably a camp laborer/servant and possibly an enslaved freedom seeker, lies on the ground on his side, propped up on his left elbow, and looks at the viewer. He wears shirtsleeves and pants. The tops of trees are visible in the background. William Wallace Rogers (1832-1890) served in the 3rd Pennsylvania Cavalry during the Civil War and served in Virginia, Maryland, and Pennsylvania, including the Battle of Gettysburg, where he was wounded in July 1863. He was promoted to the rank of Lieutenant Colonel in 1865 and retired from service in 1889., Title supplied by cataloger from information provided by donor, descendent of William Wallace Rogers., Date inferred from content and information provided by donor., Pad: Red velvet with a decorative scroll in the center surrounded by an ornamental border with flowers and leaves., Mat: Nonpareil., Case: Leather. Geometric design of a scroll in the center surrounded by vases of flowers and leaves. Same design on verso., Gift of John J. Nesbitt III, 2016.
Date: [ca. 1863]
Location: Library Company of Philadelphia | Print Department Cased photos – sitter – Rogers [P.2016.78.1]

Title: [Group portrait photograph of fourteen African American nurses and nursing students outside of Dr. J. H. Mudgett’s Private Hospital and Training School for Nurses, 2030 N. 13th Street, Philadelphia]
Description: Group portrait depicts the women, including Helen Waller, posed in three rows on the steps outside the entryway to the hospital and training school. Five woman stand in a line in the top and bottom rows and four women stand in a line in the middle row. The women hold their arms to their sides or behind them and have plain expressions. The women in the bottom row wear white, ankle-length dresses with long sleeves and collars, white stockings, and white shoes with heels. They also wear nurses caps with the one of the woman in the middle trimmed with a thin black stripe along the edge, possibly “Miss Harris, super-intendant of the nurses.” The women in the upper rows wear white, long-sleeved shirts, white apron dresses, and nurses caps. The sign naming the hospital and school adorning the building is partially visible in the right. The figure who is Helen Waller, a 1919 graduate of the hospital is not known, but likely one of the women in the first row., Dr. J. H. Mudgett’s Private Hospital and Training School for Nurses was established by New Hampshire-born white (per census records) physician John H. Mudgett and chartered in 1919. Mudgett served as the medical director of surgery. In 1921, the school was one of a number of nursing schools advertised in the “Evening Public Ledger” as offering “Free Tuition, Board, Lodging, and a Nominal Fee” to be trained as a nurse. Mudgett, graduated Dartmouth Medical School in 1896 and resided in Philadelphia as a physician by circa 1905. By 1925, he was listed as only a physician with no listing for the training school. Mudgett, a member of the First African Baptist Church, died in 1945. At the time of his death he was in a multiracial marriage with Adeline Mudgett (1889-1958), a former dressmaker. His race on his death certificate had been altered from white to “colored.” Helen Waller (1897-1925) was one of the first nurse graduates of Mudgett’s Hospital in 1919. By 1924, she worked as a child hygiene nurse before her death in 1925 from tuberculosis., Title supplied by cataloger., Date inferred from article about “Mudgett’s Hospital Has Its First Commencement,” Philadelphia Tribune, July 19, 1919., Name of photographer from photographer's stamp on verso., Manuscript note on verso: Helen Waller, 2020 Turner Street., See also complementary group portrait photographs - Education - M [P.2022.5.2 & 3].
Creator: Paul, Dan E., photographer
Date: [1919]
Location: Library Company of Philadelphia | Print Department *group portrait photographs - education - Mudgett's Hospital [P.2022.5.1]

Title: [Group portrait photograph of Dr. Mudgett and four African American physicians outside of Dr. J. H. Mudgett’s Private Hospital and Training School for Nurses, 2030 N. 13th Street, Philadelphia]
Description: Group portrait depicts Dr. John Herbert Mudgett and four African American physicians, posed, standing and seated, on the steps outside the entryway to the hospital and training school. In the right, two physicians, attired in dark-colored suits and ties, stand next to Mudgett and the other men seated on the stairs. One of the physicians also wears a mustache. They look past the photographer. In the center, Mudgett, grey-haired, wearing glasses, and attired in a white suit with bow tie, sits on the outer edge of the middle stair. He looks past the photographer and his hands are clasped and rest in his lap. To his right, another two physicians sit next to him on the stairs. They are attired in dark-colored suits with either a tie or bow tie. One physician wears glasses. They rest their hands and/or arms on the upper part of their bent legs. They look at the photographer. The visible shoes of the men are shined, except Mudgett’s which are scuffed. View also shows a boot scraper near the foot of Mudgett, at the base of the steps, and in the right, the sign reading "Dr. Mudgett’s Private Hospital" adorning the wall of the building., Dr. J. H. Mudgett’s Private Hospital and Training School for Nurses was established by New Hampshire-born white (per census records) physician John H. Mudgett and chartered in 1919. Mudgett served as the medical director of surgery. In 1921, the school was one of a number of nursing schools advertised in the "Evening Public Ledger" as offering "Free Tuition, Board, Lodging, and a Nominal Fee" to be trained as a nurse. Mudgett, graduated Dartmouth Medical School in 1896 and resided in Philadelphia as a physician by circa 1905. By 1925, he was listed as only a physician with no listing for the training school. Mudgett, a member of the First African Baptist Church, died in 1945. At the time of his death he was in a multiracial marriage with Adeline Mudgett (1889-1958), a former dressmaker. His race on his death certificate had been altered from white to “colored.”, Title supplied by cataloger., Date inferred from photograph with complementary content and article about “Mudgett’s Hospital Has Its First Commencement,” Philadelphia Tribune, July 19, 1919., Name of photographer from photographer's stamp on verso., Manuscript note on verso: Helen Waller. Helen Waller (1897-1925) was one of the first nurse graduates of Mudgett’s Hospital in 1919. By 1924, she worked as a child hygiene nurse before her death in 1925 from tuberculosis., See also complementary group portrait photographs - Education - M [P.2022.5.2 & 3].
Creator: Paul, Dan E., photographer
Date: [1919]
Location: Library Company of Philadelphia | Print Department *group portrait photographs - education - Mudgett's Hospital [P.2022.5.2]

Title: [View of operating room with Dr. J.H. Mudgett and African American men physicians and African American women nurses at a surgical procedure at Dr. J. H. Mudgett’s Private Hospital and Training School for Nurses, 2030 N. 13th Street, Philadelphia]
Description: View shows Dr. John Herbert Mudgett and African American physicians and nurses surrounding an African American person lying on a surgical gurney and covered in surgical drapes in an operating room. Mudgett, center and looking at the camera, and attired in a surgical cap and gown, rests his hands on the patient. To his right stands a nurse, attired in a cap and a white surgical gown who looks with a side glance at the camera. To her right, a man anesthesiologist, in right profile, is seated, and holds his hands above the face of the patient. In the right foreground, two men physicians, attired in surgical caps and gowns stand over and have their hands on the patient. One man looks at the patient and the other man looks at the camera. In the left, center background, possibly Miss Harris, super-intendant of the nurses, attired in a striped, nurse's cap looks over the shoulder of Mudgett. In the far right background, a nurse attired in a surgical cap and gown looks, with a slight frown, at the camera. The face and head of another nurse wearing a surgical cap is seen behind her. View also includes two uncovered windows in the background., Dr. J. H. Mudgett’s Private Hospital and Training School for Nurses was established by New Hampshire-born white (per census records) physician John H. Mudgett and chartered in 1919. Mudgett served as the medical director of surgery. In 1921, the school was one of a number of nursing schools advertised in the “Evening Public Ledger” as offering "Free Tuition, Board, Lodging, and a Nominal Fee" to be trained as a nurse. Mudgett, graduated Dartmouth Medical School in 1896 and resided in Philadelphia as a physician by circa 1905. By 1925, he was listed as only a physician with no listing for the training school. Mudgett, a member of the First African Baptist Church, died in 1945. At the time of his death he was in a multiracial marriage with Adeline Mudgett (1889-1958), a former dressmaker. His race on his death certificate had been altered from white to "colored.", Title supplied by cataloger., Name of attributed photographer from complementary photographs., Date inferred from photographs with complementary content and article about "Mudgett’s Hospital Has Its First Commencement," Philadelphia Tribune, July 19, 1919., See also complementary group portrait photographs - Education - M [P.2022.5.1 & 2].
Creator: Paul, Dan E., photographer
Date: [1919]
Location: Library Company of Philadelphia | Print Department *group portrait photographs - education - Mudgett's Hospital [P.2022.5.3]

Title: Freedman's National Monument
Description: Interior view showing the plaster model for the proposed design of the Freedman's Memorial to Lincoln by expatriate sculptor Harriet Hosmer when on display in the Boston Athenaeum, likely statuary gallery, in 1866. Shows, from an oblique angle, the model on top of a draped table and in front of two archways. The model of the Memorial design was composed of mutiple tiers on the top of which lied a figure of Lincoln in a sarcophagus within an open temple. An edited version of the words of the Emancipation Proclamation adorned the temple which stood on a base with a frieze designed with thirty-six female allegories representing the states of the Union during Lincoln's presidency. On the base below the temple was a sculptural cycle of African American history to that period. Four standing Black male figures on pedestals surrounded the base at each corner. The figures portrayed included a seminude, enslaved man, with his head down, and his wrists manacled; a soldier in uniform with a forward gaze and a bayonetted rifle in his hands that was pointed to the ground; an enslaved man who rests on a hoe with his head bowed down; and a soldier, looking ahead, and holding a gun. On the four outside corners were "Mourning Victories" with their trumpets reversed. The angle of the image shows a view of the model that includes the Lincoln figure, three of the African American men figures, and three of the "Mourning Victories.", Hosmer designed the Memorial in response to a monument project sponsored by the Western Sanitary Commission of St. Louis after formerly enslaved Charlotte Scott of Marietta, OH pledged $5 for a monument to Abraham Lincoln following his assassination in 1865. Donations from formerly enslaved persons grew to $20,000 within months of Scott's original donation. Hosmer later altered the design and an engraving of her new proposal appeared in the Art Journal (London), January 1, 1868. Hosmer's model, purported to cost over $100,000 to be executed, was never sculpted. After years of competing projects, designs, and sponsoring agencies, on April 14, 1876, a sculpture by Thomas Ball, "Emancipation," designed without the input of the formerly enslaved donors was erected in Lincoln Square, Washington, D.C. on an eastern edge of Capitol Hill., Title printed on mount., Date from copyright statement: Entered according to Act of Congress, in the year 1866, by Harriet G. Hosmer, in the clerk's office of the District Court of the District of Massachusetts., Harriet Hosmer (1830-1908) was a lesbian, expatriate neoclassical sculptor, who was one of the most famous artists of her time. Hosmer had her own studio and her work often focused on idealized mythological female figures associated with strength and courage. Hosmer was also a women's rights activist and an inventor., Purchased with the Louise Marshall Kelly fund., See Kirk Savage, Standing soldiers, kneeling slaves: Race, war, and monument in nineteenth-century America (Princeton: Princeton University Press, 1997), p.89-128., John B. Heywood (d. 1870) operated a photographic studio in Boston circa 1858-circa 1870, when he then appears to have relocated to Chicago per 1870 census records. He may also be the J.B. Heywood who advertised a photographic studio in New Bern, N.C. in 1866. Between 1869 and 1870, he is listed in Boston at 25 Winter, the address of photographer and publisher Frank Rowell, who established a branch of his photographic studio in Chicago in 1867.
Creator: Heywood, John B., -1870, photographer
Date: 1866
Location: Library Company of Philadelphia | Print Department cdv - Heywood - Monuments & statues [P.2022.28.1]

Title: [Group portrait of women minstrel performers in Blackface and costumes]
Description: Group portrait of twenty-two women posed in three rows while wearing Blackface and comical costumes for the racist entertainmentof minstrelsy. The women in the front row are seated and the women in the back two rows stand. The female minstrel entertainers wear black curly haired wigs, black face paint, and different-styled hats, jackets, skirts, and/or dresses. Costumes include ruffled and wrinkled skirts, rumpled jackets, ties and bowties, bowler hats, top hats, and a large, wide-rimmed Edwardian picture hat. Several women hold stenciled or hand-written signs (with malapropisms) identifying their "character," often a government or civil employee. Signs, in various shapes and designs, read: "Sheriff"; "Ise De Librarian"; "Ise de [Post]master"; "Colletor [sic] Ob De Mon[ey]"; "Justice Ob De Peace"; "Street Commissioner and Alderman"; and "Ise De State Legislture." A backdrop is visible in the background and fabric runners are tied in a central bow above the women's heads. A piano is partially visible in the left of the image. 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. By the 1870s nearly a dozen all-female minstrel troupes had been organized. Many of the troupes eventually evolved into burlesque reviews., Title supplied by cataloger., Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1910]
Location: Library Company of Philadelphia | Print Department *group portrait photographs - women - minstrel [P.2017.11]

Title: [Portrait of five African American men attired in uniforms, probably band uniforms]
Description: Full-length portrait depicting the five young African American men, standing in a row, in a studio setting. The men on either end are slightly angled toward the man in the middle. The men have short-cropped hair, some with it parted in the middle. One man also has a mustache. The men are attired in white high collar shirts; bow ties; three-buttoned, dark jackets with flourishes across the chest and on the arms; and dark pants. One man (second from right) wears a black bow tie, while the others wear white ones. The man in the middle wears his jacket unbuttoned, while the others have theirs buttoned. Setting includes a palatial backdrop, a balustrade covered in drapery (in left), the edge of a platform (in right), and a fur rug on which the men stand., Title supplied by cataloger., Photographer's imprint with insignia printed on mount. Insignia composed of H.W. monogram with flourishes., Date inferred from years (1888-1892) photographer operated at address listed in imprint., Printed on verso: Harry A. Webb, art photographer, 112 and 114 N. 9th St., Philadelphia. Instantaneous process used exclusively. All negatives preserved. Duplicates, enlargements, or lockets. Can be furnished without resitting. Text surrounded by and within pictorial details. Details resemble pine needles, banners, and a circular ornament. The text and pictorial elements are within an ornamented border composed with bark-like details and ornate cornices adorned with floral twigs., Description reviewed 2022., Access points revised 2022., Harry A. Webb, born in England, worked in Philadelphia as a photographer by 1880. He continued in the profession through 1900. By the time of his death in 1927, he worked as a clerk for William H. Horstmann, a dress trimmings, military and regalia manufactory.
Creator: Webb, Harry A., 1847-1927, photographer
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photographer - Webb [P.2017.40]

Title: Eminent women Mary A. Livermore. Sara Jewett. Grace A. Oliver. Helen Hunt. Nora Perry. Lucy Larcom. Frances Hodgson Burnett. Elizabeth Stuart Phelps. Louise Chandler Moulton. Louisa M. Alcott. Julia Ward Howe. Harriet Beecher Stowe
Description: Composite photograph created through the "paste-up" technique of cut-up negatives that are arranged, pasted together, and then rephotographed to present a realistic scene. Depicts a group of eminent Victorian women, including authors, writers, and women's rights, temperance, and abolitionist movements advocates, "posed" in the Montreal residence of railway financier George Stephens. Sitters (left to right), in the background, and standing, include: Mary A. Livermore; Sara Jewett; Grace A. Oliver; Helen Hunt; Nora Perry; Lucy Larcom; and Frances Hodgson Burnett. Sitters (left to right), in the foreground, and seated, include: Elizabeth Stuart Phelps; Louise Chandler Moulton; Louisa M. Alcott; Julia Ward Howe; and Harriet Beecher Stowe. Backdrop interior imagery shows parts of the reception hall, drawing room, stairwell, and conservatory of the Stephens' residence. Vases, a mantel, light fixtures, drapery, and a fountain are included in the backdrop. Pictorial details of foliage and a pond surround the portrait within a circular frame. Canadian photographer William Notman created the original portrait negatives used in the composite created by L'Africain. Notman was known for his innovative photography and his studio specialized in composite photographs by the 1870s. This image was also distributed "compliments" of the Travelers Insurance Company of Hartford, CT., Title from item., Date in negative in lower right corner., Name of photographer and publisher from imprint in negative and printed on mount and verso., Name of artist in negative in right corner., Sitter's names in title depicted with a single dot between first, middle, and last names and with double dots between full names., Copyrighted., Photographer and publisher's illustrated imprint printed on verso: W. Notman. The Notman Photographic Co. Limited. 3 Park Street, Boston, Mass. Also at 48 North Pearl St. Albany, N. Y. Saratoga, N. Y. Newport, R. I. Illustration depicts an objet d'art composed of a crown, foliage, banners, scrolls, coat of arms, and exhibition medals, including from the Centennial Exhibition of 1876. Image also contains text, including: "Honi Soit Qui Mal [Y Pens]e. Photographer to Her Majesty. Montreal." Imprint surrounded by ornately-designed border including lavishly-ornamented cornices., Purchased with the Davida T. Deutsch Women’s History Fund., Lib. Company. Annual report, 2016, p. 64-66., Description reviewed 2022., Access points reviewed 2022.
Creator: Notman Photo Co. (Boston, Mass.)
Date: 1884
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photo - Notman [P.2016.73]

Title: Mrs. Amanda Smith
Description: Three-quarter length portrait of the African American Methodist evangelist preacher, missionary, and temperance advocate who was born to enslaved parents in Maryland. Shows Smith, standing, slightly turned to her right, and attired in medium-colored, Quaker-like garb including a shawl, shirtwaist with an upright lace collar adorned with a pendant, skirt, and scoop bonnet. She holds a book, possibly a Bible, in her right hand, top edge down, and with her fingers interspersed between a few pages. A chair is partially visible in the right of the image and dark-colored drapery serves as the backdrop. Smith, her freedom bought by her father when a child, entered preaching in 1869. Known as a compelling speaker and singer, she preached at Methodist Episcopal churches throughout the East and Midwest, including Philadelphia. In 1878 she felt called to travel to Keswick, England for a Methodist convention and remained in the country to minister and then worked as a missionary in India (1879-1881) and West Africa (1882-1890). In 1890 she returned to the United States and settled in Chicago where she was also a prominent member of the Women's Christian Temperance Union (Smith joined in the 1870s). In 1893 her "Autobiography" was published, from which she began to raise funds for an orphanage for African American children. 1n 1899 the Amanda Smith Orphan's Home, later the Amanda Smith Industrial Home opened in Harvey, Il. The home was razed by fire in 1918., Title from manuscript note on verso., Photographer's imprint printed on mount., Publisher's imprint printed on verso. Also includes a vignette depicting the British coat of arms., Mount designer's imprint printed on verso., Lib. Company. Annual Report, 2018, p. 59 - 60., RVCDC, Description reviewed 2022., Access points revised 2022.
Creator: Pettitt, Alfred, -1880
Date: [1878]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Smith [P.2018.13]

Title: [Unidentified African American man in militia uniform]
Description: Full-length portrait photograph by African American photographer Gallo W. Cheston depicting an African American man in a light-colored militia uniform. The man stands, turned slightly toward the right. He holds a long rifle in front of himself with his gloved hands. His left foot is slightly in front of his right. His uniform includes a Shako cap; jacket with epaulettes, buttons, and service stripes; shoulder strap marked "4"; belt; and pants with a dark vertical stripe down the leg. The tip of a rifle and holster is seen below his back. Portrait also includes, to the man's left, a pulled-back drape propped up on a pedestal. Following the Civil War and during Reconstruction (1865-1877), several African American militia units formed, particularly in the South., Title supplied by cataloger., Name of photographer from photographer's label pasted on verso: Cheston's 227 Lombard St., between 2d and 3d, Philadelphia. All the various styles of pictures known to the art, made in a manner as near perfection as possible; and all Improvements or additions introduced as soon as made and perfected. Your patronage is solicited. N. B. Old pictures copied to any size, in an artistic manner., Date inferred from tenancy of the photographer at the address listed on his label pasted on verso., Photograph mounted on board, rounded at the corners, and with a printed oval-shaped, frame-like border surrounding the image. Border adorned with ornaments and filigree., Photograph altered with ink and watercolor details highlighting parts of the sitter's uniform, including his cap, epaulettes, service stripes, shoulder strap, belt, and buttons, as well as his eyes, eyebrows, and sideburns. The pull of a drape included in the studio setting is also hand colored., Purchased in part with the Davida T. Deutsch African American History Fund., Description reviewed 2022., Access points revised 2022., Gallo W. Cheston (ca. 1846-1882) served as a private of the Pennsylvania National Guard 1871-1873.
Creator: Cheston, Gallo W., approximately 1846-1882, photographer
Date: [ca. 1870]
Location: Library Company of Philadelphia | Print Department portrait photographs - photographer - Cheston [P.2018.3]

Title: A " corner in cotton."
Description: Racist scene showing a young, African American couple (Ephraim and Dinah) seated next to each other, and flirting, in a small clearing in a cotton field. The couple, their legs outstretched, leans back on two large baskets of picked cotton. The man and woman smile at each other. The woman's head is tilted to her left and she uses the index finger of her right hand to touch the chin of the man. The man is attired in a collarless, long-sleeve, light-color shirt, light-color pants, and worn boots. The pants have frayed edges. The woman wears a light-colored, long sleeve shift dress, and heeled shoes. They each wear wide-brimmed hats. A mass of cotton plants is visible in the background., Date from copyright statement: Copyright 1898, by B. L. Singley., Title from item., Title printed in five different languages, including Italian, French, and German, on verso., Text printed on verso: Here it is in black and white. The negro and the cotton are as inseparable as the darky and the 'possum. Colored labor clothes half the world, and half the world never gives it a thought nor a thank-you. But what care Ephraim and Dinah what the world says or doesn't say? "In all ages every human heart is human." A corner in cotton is as palatial as a corner in Windsor Castle or the White House, if love is there. Now, Paul Lawrence Dunbar, you negro writer of sparling verse, here is a subject made to your hand., Curved buff mount with rounded corners., Gift of David Long., RVCDC, Description revised 2022., Access points revised 2022., Keystone View Company was founded in 1892 by B.L. Singley, an amateur photographer from Meadville, Pennsylvania. Keystone View Company was the leader in promoting stereographs for educational purposes. In 1912 the company purchased rights to some Underwood & Underwood negatives for use in educational sets, and in 1922 purchased the remaining stock of Underwood materials. The company remained in business until 1970.
Creator: Keystone View Company
Date: 1898
Location: Library Company of Philadelphia | Print Department stereo - Keystone View Company - Portraits & Genre [P.2018.16.1]

Title: " We's done all dis s'mornin'."
Description: Racist scene showing, in the foreground, a young, African American girl and boy standing behind a large basket of cotton in a cotton field. The girl faces the camera and the boy looks behind him and with his head turned away. The girl wears a bonnet, dark-color, long-sleeved shirt, and a light-color skirt. The boy wears a long-sleeve, light-color, smock-like shirt. In the background, African American men, women, boys, and girls work in the field or are posed to stand and face the camera. One man sits, high up, on bales., Dates from copyright statements on recto and verso: Copyright 1899, by B. L. Singley. Made in U.S.A. and Copyright, 1913, by the Keystone View Company., Title from recto of item., Title printed in five different languages, including Italian, French, and German, on verso., Variant title on verso: 9506-"We'se done all dis's mornin',"-Picking cotton on a Mississippi plantation., Several lines of text printed on verso, often describing in racist terms, the culture, conditions, and economics of the cotton industry in the South., Curved grey mount with rounded corners., Gift of David Long., RVCDC, Description reviewed 2022., Access points revised 2022., Keystone View Company was founded in 1892 by B.L. Singley, an amateur photographer from Meadville, Pennsylvania. Keystone View Company was the leader in promoting stereographs for educational purposes. In 1912 the company purchased rights to some Underwood & Underwood negatives for use in educational sets, and in 1922 purchased the remaining stock of Underwood materials. The company remained in business until 1970.
Creator: Keystone View Company
Date: 1899, ([printed] 1913)
Location: Library Company of Philadelphia | Print Department stereo - Keystone View Company - Work [P.2018.16.3]

Title: "Deed Child's, I's didn't know you was dare."
Description: Racist, comic genre scene showing a young African American woman emerging from a cellar and accidentally knocking two children off the cellar doors. Depicts the woman standing out from the cellar and opening the cellar doors with both her hands. A young white girl has rolled off the door in the left and a young white boy lies on the edge of the door in the right. The girl, lies on her side, her head toward the viewer, her dress tousled, and her hands over her eyes. The boy, attired in a romper ensemble, sucks his thumb, and lies on his right side. The woman, smiles, and looks toward the boy. She is attired in a wide-brimmed hat, a shirt waist, and a skirt. The image also shows the outer wall of a stone dwelling and a window in which the figure of a man is visible. The window, adorned with drapery, is over the cellar., Curved buff mount with rounded corners., Title printed on mount., Date and name of photographer from copyright statement: Copyrighted 1898, by T.W. Ingersoll., Printed on mount: High Grade Original Views. Sold only by Subscription., Gift of George R. Allen, 2022., RVCDC
Creator: Ingersoll, T. W. (Truman Ward), 1862-1922
Date: 1898
Location: Library Company of Philadelphia | Print Department stereo - Miscellaneous - Ingersoll [P.2022.42.19]

Title: "D em brats done gone and stole dat melon."
Description: Racist, genre stereograph depicting an African American man coming upon three African American boys sitting next to each other and eating large slices of watermelon at the entrance to a stone root cellar. Shows an outdoor setting in which the man, holding a switch, peers around the stone, curved structure at the boys who sit with their legs crossed, or bent at the knees, or to the side, before the open entryway. Each holds a slice of watermelon toward their mouth. Half a watermelon with a knife in it and two other slices of the melon lie near the boys. View also show a grassy hillside in the background and a patch of greenry near the cellar. The man is attired in a soft-brimmed hat, shirtsleeves, a vest, and slacks. The children wear shirts and shorts., Title from item., Date inferred from active dates of publisher and content., Name of photographer and publisher from copyright statement: Copyright Griffith & Griffith., Curved grey mount with rounded corners., Griffith & Griffith, established in Philadelphia in 1896, expanded in 1908 to included offices in St. Louis and Liverpool. The non-Philadelphia offices were relocated in 1910., RVCDC, Gift of George R. Allen, 2022.
Creator: Griffith & Griffith
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department stereo - Griffith & Griffith - Portraits & Genre [P.2022.42.18]

Title: Amy Smith, April 17, 1876
Description: Half-length portrait of Smith, a young African American woman, posed to the left. She looks forward toward the viewer. She wears a plaid-patterned garment, a white, upturned collar, and a bowtie-like ribbon at her neck. Her hair is pulled back and she wears a hair band. Smith, born in Virginia resided in Philadelphia by 1870. Smith was buried at the Harmony Burial Ground, the burial ground of the African Friends to Harmony at 41st and Chestnut Street in West Philadephia. African Friends, founded in 1826, sought to provide a cemetery for low-income African Americans to be interred with dignity and respect. Several of those buried in the cemetery were associated with the Monument Baptist Church or the Mount Pisgah A.M.E. Church. The property was sold in 1910. In 2020, the remains of over 160 burials were transferred to Eden Cemetery., Title from manuscript note on mount., Photographer's imprint printed on verso., Printed on verso: No. [57860]. Duplicated any time if orderd by the original, or by a responsible person., Manuscript note on verso: died March 23d 1878., Partially purchased with funds for the Visual Culture Program., RVCDC
Creator: Reimer, Benjamin F., approximately 1826-1899, photographer
Date: [1876]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Smith [P.2023.17.1]

Title: [Full-length studio portrait photograph of an unidentified, young African American man, seated]
Description: Shows the man, posed slightly to the left, seated on a wooden chair, and his left leg crossed over his right. He looks toward the photographer. His left hand rests in his lap and his right hand rests on the fore edge of the right arm of the chair. He wears a dark-colored suit, white shirt, neck tie, and laced up boots. Image also includes a backdrop and decorated flooring., Title supplied by cataloger., Photographer's imprint and insignia blindstamped on mount., Paper cover is embossed with floral pictorial details., Gift of J. Murray Atkins Library., Benjamin W. Fowler operated from 238 N. Eighth St., Philadelphia between 1889 and 1917.
Creator: Fowler, Benjamin W., photographer
Date: [ca. 1915]
Location: Library Company of Philadelphia | Print Department portrait photographs - photographer - Fowler [P.2022.54]

Title: [Series of photographs of children in North Carolina]
Description: Series of primarily captioned photographs depicting white children, a number also including a Black woman caregiver. Images also depict a goat and goat cart. Captions include: "An Important Conference"; "Back yard scenery in N.C."; "Summer"; "Showing the effect of not closing the mouth properly";"Rear view of 'my youngest'"; "Mistaking the shadow for the substance"; "Benjamin My youngest!"; "Master C.M. Gibbon - at 2 yrs"; and "'The 'non-adventurous Billie.', Title supplied by cataloger., Date inferred from the attire of the sitters., Gift of Marjorie G. Battles.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Recreation [P.8502.115-125]

Title: [Photographs of Andalusia, probably Pennsylvania]
Description: Captioned photographs depicting a pair of men by a tree and two women, one older, and a boy near a kettle in a back yard. Captions, one with racist text, include: "Pleasant thoughts of the Penn- Andalusia August 1898. Love from [Laute]?" and "Rollin like a [seener?] in the darkey quarters - Andalusia August 1898, Title supplied by cataloger., Date inferred from the attire of the sitters., Gift of Marjorie G. Battles., RVCDC
Date: [1898]
Location: Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Recreation [P.8502.19 & 21]

Title: Some of our brave colored boys who helped free Cuba
Description: Stereoview depicting a lineup of African American soldiers in an exterior beach setting during the Spanish American War, 1898. The men, attired in the uniform of campaign hat, button down jacket, trousers, bullet belts, and leggings, stand at attention, and with their rifles held to the sandy ground. Most of the men look straight ahead with a few looking toward the viewer. In the background, an American flag at the end of the line of men and a military encampment with tents and soldiers is visible. The Spanish American War was the conflict between Spain and the United State originating with the Cuban War of Independence. Cuba gained independence and the United States acquired the territories of Puerto Rico, Guam, and the Philippine Islands from Spain. The regular army's four Black troops (9th and10th Cavalry and 24th and 25th Infantry) and thousands of Black men volunteers served during the war. AFrican American troop's service during the war caused controversy within the African American community which still did not have equal civil rights as citizens of the United States., Title from item., Date from copyright statement: Copyright 1899 by J. F. Jarvis., Distributor's imprint printed on mount: Sold by Underwood & Underwood. New York, London, Toronto-Canada, Ottowa-Kansas., Semi-legible maunscript note on verso: Deliver to Mr. [Heyburn?] ... with ..., J.F. Jarvis was the largest manufacturer of stereoviews in Washington D.C. during the late 19th century. He published his own trade list and numerous views of government surveys., RVCDC
Creator: Jarvis, J. F. (John Fillis), 1849-1931
Date: [1899]
Location: Library Company of Philadelphia | Print Department stereos - misc. photo - Jarvis [P.2023.6]

Title: [Mary Ann C. Shadd?, Washington, D.C.]
Description: Bust-length portrait of an African American woman, possibly American-Canadian anti-slavery activist, journalist, publisher, teacher, and lawyer Mary Ann Shadd Cary. Sitter faces right and wears her long hair back and in a chignon and top knot. A head band with an ornament adorns her hair. She is attired in a dark-colored, V-neck garment with a white ruffled collar and dark-colored lace neckerchief. She also wears a cross necklace and drop earrings. Shad Cary, was born free in Delaware to parents active in the Underground Railroad, before relocating to Pennsylvania, then Canada in 1853. In later years, following the Civil War, Shad Cary resided in Washington, D.C. where she died in 1893. During her life, she founded a school for Black children in Pennsylvania and a racially integrated school in Ontario, Canada; was the first Black woman publisher in North America when she founded, in 1853, and edited the anti-slavery and civil rights advocacy newspaper "The Provincial Freeman,"; was the second Black woman to attend law school (Howard University) in the United States; and founded, in 1880, the women's rights advocacy organization the Colored Women's Progressive Franchise. Shad Cary also wrote for multiple newspapers, such as the National Era, served as a Civil War recruiter, and was the first African American woman to vote in a national election., Title from manuscript note on verso: Mariann [sic] C. Shadd, Washington, D.C., Photographer's imprint stamped on verso., Date inferred from active dates of photographer at address listed in imprint., Henrici & Garns operated from 709 South Second Street between 1874 and 1876.
Creator: Henrici & Garns, photographer
Date: [ca. 1875]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Cary [P.2023.4]

Title: Testimonial banquet to Ms. Eugenia M. Neal. Daughter Ruler Keystone Temple, No. 448 I.B.P.O.E.W., Dec. 8, 1930. O. V. Catto Elks Home, Philadelphia
Description: Panoramic group portrait photograph depicting over one hundred African American men and women, of all ages, at a testimonial banquet of the Improved Benevolent Protective Order of Elks of the World for Eugenia Neal (1873-1949). The attendees, attired in evening wear, sit at rows of tables and a few booths in the right of the room. Attendees wear suits, tuxedos, and evening and cocktail dresses. Most of the sitters do not smile and face the camera. Some are turned away or eating. Some of the men wear their I.B.P.O.E.W. fezzes. In the right background, one woman has an arch of flowers over her. The tables are covered in white tablecloths and lined with plates of food, serving platters, and silver pitchers. In the background, at the back of the room, a small band of men musicians is seated next to a woman at a piano. Streamers and a paper bell adorn the ceiling. The O.V. Catto Elks Lodge began in 1903 as a chapter of the Improved Benevolent Protective Order of Elks of the World established in 1897 with a mission to "practice charity by providing and performing charitable services in our communities throughout the world and by promoting harmony, friendship, and unity among our esteemed members." By 1926, the Lodge had over 3000 members, and in 1929, it relocated to a new building that included a boxing ring, basketball court, and rooftop garden, at 16th and Fitzwater. Eugenia Neal, born Eugenia Brisby in Virginia, worked as a typesetter in Philadelphia by 1920. Married to Moses Neal in 1896, the couple resided in Atlantic City before relocating to Philadelphia by 1910. As a Daughter Ruler, Neal lead the Keystone Temple with her male counterpart, Exalted Ruler, and "under their leadership, all Elks shall show[ed] truth in activities and live[d] to help others, while promoting Brotherly and Sisterly Love to all.", Title and date from item.
Date: [1930]
Location: Library Company of Philadelphia | Print Department framed graphics [P.2023.5]

Title: Go way white trash, dis chile dance yer blind
Description: Reproduction of a sketch by G. W. Leonard depicting an African American shoeshine boy dancing to the musical accompaniment of a white boy and girl, while a white boy mocks him in the background. The smiling African American boy, portrayed in racist caricature with exaggerated features, is in the center of the image. He is attired in a white, long-sleeved open neck shirt, baggy striped pants with suspenders, and a hat with turned up brims, his hands at his side, and mid step. To his right, stand a white boy playing a concertina and a white girl playing the violin. The boy is attired in a newsboy's cap, a jacket, and pants with patches at the knees. The girl is attired in a short-sleeved, calf-length, light-colored dress, with a sash draped over her right shoulder (the one on which she plays the violin). A shoeshine box marked (with the letter s's backwards), "t. Smith. Boss Shine, 5 cts.," rests near the feet of the trio of children. In the background, a white boy, attired in torn and worn clothes and with mop-like hair, appears in a clomping stance with his arms raised to his shoulders, his back leg bent at the knee, and his other leg kicked out. His hat lays on the ground near him., Date from copyright statement: Copyright 1877, by J. P. Soule., 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 and funds for the Visual Culture Program., RVCDC, Description revised 2021., Access points revised 2021.
Date: [1877]
Location: Library Company of Philadelphia | Print Department cdv - misc. - caricatures and cartoons - G [P.2015.63]

Title: [Copy photograph of African American woman caregiver with her young white charges]
Description: Copy photograph of a circa 1860 three-quarter length portrait of a young African American woman caregiver, seated, and with a white baby on her lap and a young white boy standing to her left. The caregiver has her right hand resting on the head of the baby and her left arm wrapped around his/her waist. The baby wears a medium-colored dress, which their nanny's hand has slightly tugged up. The baby has their left hand in their mouth. The nanny wears her long, wavy dark hair, parted in the center, and pulled away from her face. She is attired in a patterned shirt waist and dark satin skirt with crinoline underneath. The boy to her left wears a dark-colored, mandarin-style jacket and dark pants. All the sitters look straight at the viewer., Title supplied by cataloger., Date based on type of mount and address of photographer., Photographer's imprint stamped on mount and verso. Imprint on verso includes decorative insignia composed of an ornamented letter "G" with a coat of arms in its interior. The coat of arms includes a lion and bird., Inscribed in pencil on verso: 100801., Purchased with funds for the Visual Culture Program (Junto 2015)., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Gutekunst, Frederick, 1831-1917, photographer
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photo - Gutekunst [P.2016.17.2]

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