A woman accused of adultery is burned at the stake in front of a large crowd in Juda (French Guiana). A man accused of the same sits in a pit next to her and watches as her body is consumed by flames and smoke. (Presumably, he is about to receive the same punishment.) Drummers, men with rifles, and women carrying pots number among the hundreds of onookers. The women's pots may contain some type of accelerant, for one of the women pours liquid onto the head of the adulterous man., Fold-out plate in Jean Baptiste Labat's Voyage du chevalier Des Marchais en Guinée, isles voisines, et a Cayenne, Fait en 1725, 1726, & 1727 (A Amsterdam: aux dépens de la Compaigne, M.DCC.XXXI [1731], vol. 2, p. 66., Fels Afro-Americana Image Project, Africa: Images, Maps, and Geography.
Date
[1731]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1731 Lab 1691.D v 2 p 66, https://digital.librarycompany.org/islandora/object/Islandora%3A2669
In The Dalton divorce case (Boston, 1857), title vignette., Helen Dalton was accused of adultery by her husband, Frank Dalton, but maintained her innocence, arguing that her relations with her supposed lover, William Sumner, had not been improper. The ensuing divorce trial was complicated by counter-accusations of adultery and spousal neglect leveled at Frank Dalton, allegations of an aborted pregnancy, and Sumner's death following a brutal beating by Mr. Dalton. The trial became something of a public sensation, as the topic of women and morality was a subject of heated debate. The jury was ultimately unable to come to a conclusive verdict., Full-length portrait of Dalton, wearing a gown and bonnet.
In The only complete report of the Burch divorce case (New York, 1860), front wrapper., Waist-length portrait of Mrs. Burch, seated with her arm resting on a table., Mrs. Burch’s husband Isaac accused her of adultery, and she countersued that he had married her for her wealth and was carrying on a relationship outside their marriage as well.
In Report of the Forrest divorce case (New York, 1852), title vignette and p. 96., Other portraits appear in: The Forrest divorce suit, report of the trial of Catherine N. Forrest vs. Edwin Forrest for divorce (New York, 1851), p. 96, second sequence; Gleason's pictorial drawing-room companion, vol. 2, no. 9 (Feb 28, 1852), p. 144; Gleason's pictorial drawing-room companion, vol. 2, no. 17 (Apr. 24, 1852), p. 257., Bust-length portrait of Forrest, with her hair in a bun.
A man stands inside a room with a heart-shaped padlock over the fly of his pants. His wife is peering around the door. The valentine suggests that his wife locks him up to prevent him from seeing other women., Text: Soft headed self loving rake, / This the precaution I would take, / To bind you fast, and keep you true, / If I were wedded unto you. / For if you’d follow every bonnet, / Your TRUNK must have a lock upon it. / So know your fate if you’d be mine, / To padlock’d be, my Valentine., "No. 3", Provenance: Helfand, William H..
The angry woman beats her philandering lover with a broom as he lies across her lap. A speech balloon by her head reads " HOW DARE YOU PLAY WITH THE SERVANT?" as he cries, "Oh! Oh!", Text: It’s evident, my angry fair, / Whate’er your wrongs, How much you (bare) bear; / Tho’ I would rather not be sharing / My lot with one who’s so for bareing; / Such wives as thee who ever’s got ‘em, / Will find they’re very bad at BOTTOM! / So I for my part would decline. / Such a very STRIKING Valentine., Cf. Valentines 1.19, 1.20., Provenance: Helfand, William H..
The angry woman beats her philandering lover with a broom as he lies across her lap. A speech bubble by her head reads " HOW DARE YOU PLAY WITH THE SERVANT?" as he cries, "Oh! Oh!" The man is contorted and the woman appears larger than him, which makes him look childlike, and her appear domineering., Text: It's evident my angry fair, / Whate'er your wrongs, how much you (bare) bear / Tho' I would rather not be sharing / My lot with on who's so for-bareing: / Such wives as thee who ever's got 'em, / Will find they're very hard at BOTTOM! / So I for my part would decline, / Such a very striking Valentine., Variant of Valentine 1.19, Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The angry woman beats her philandering lover with a broom as he lies across her lap. A speech bubble by her head reads " HOW DARE YOU PLAY WITH THE SERVANT?" as he cries, "Oh! Oh!" The positioning suggests both that he is a child, and she is domineering. The man is contorted, and the woman appears larger than him., Text: It's evident, my angry fair, / Whate'er your wrongs, how much you (bare) bear, / Tho' I would rather not be sharing / My lot with on who's so for-bareing: / Such wives as thee who ever's got 'em, / Will find they're very hard at BOTTOM! / So I for my part would decline / Such a very striking Valentine., Cf. 1.20., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man sits and bounces a baby on his foot. The sender criticizes the recipient for not fighting in the Civil War and implies that his wife will cheat on him. The verse has the same meter and rhyme scheme as the nursery rhyme "Rock-a-bye baby.", Text: Rock-a-horse baby, and don't make a noise, / Your daddy belongs to the stay-at-home boys; / Kid gloves on his fingers, new boots o'er his toes, / He has fine music wherever he goes. / So rock-a-horse, baby, your mother may roam, / But you'll find that your daddy is always at home., "525", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Plate one from the 1832 edition of, "Scraps," Johnston's popular satirical series of societal caricatures published between 1828 and 1840, and in 1849. Depicts a montage of nine scenes lampooning contemporary social issues and every day life such as corporal punishment, public drunkenness, popular fashion, marital relations, and libraries. Includes "Lock on the Understanding in two Toms bound in boards" depicting two "Toms" locked in a stockade without refreshment discussing their "Dry Goods" & "Stationary" business;" Heavy Wet" depicting a white man homeowner shocked to see a bank of snow fall from his roof unto a passerby's head; 'What a piece of work is a Man...." depicting hogs ashamed to be seen with a white man drunkard unconscious in their slop near a distillery; "Cowed Down" depicting a white wife upset about her cow's well-being as she watches her "mischievous" white husband being gored by it; "The Menagerie" depicting a confused African American man witnessing children mistaking a white man dandy and white woman dandiette for wild creatures at an animal menagerie; "Bullying Up" depicting a white farm boy haranguing a bull in front of his angry mother; "The Cat Doth Play & After Slay" depicting a picture "copied from an innkeeper's sign in Jugtown, N. Jersey" showing a cat playing a fiddle in front of a horse-drawn sleigh; "The Library" depicting the interior of a library where a foppish white woman, a Frenchman, and white men librarians misinterpret and misunderstand comments about popular literature; and "A Soporific" depicting an ailing white man unaffected by "laudanum opium" requesting his Reverend to preach a sermon in order to put him to sleep., Title supplied by cataloger., Printed in upper left corner: Plate 1., Published in D.C. Johnston's Scraps No. 3 1832 (Boston: D.C. Johnston, 1832), pl. 1., Retrospective conversion record: original entry, edited., Accessioned 1893., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Johnston, David Claypoole, 1799-1865
Date
[1832]
Location
Library Company of Philadelphia | Print Department political cartoons - 1832 Scr (a) [5656.F.25]
