The rail candidate. [graphic]
Title
The Rail candidate
Description
Political cartoon questioning candidate Abraham Lincoln's ability to succeed in the presidential election of 1860 with the controversial antislavery plank as a part of the Republican Party’s platform. Depicts Lincoln with an expression of discomfort on his face and straddling a wooden rail labeled, "Republican Platform." He complains, "it is true I have split Rails, but I begin to feel as if this Rail would split me, it's the hardest stick I ever straddled." Carrying the front end of the rail is an African American man, portrayed as a racist caricature, who says in the vernacular, "Dis Nigger strong and willin, but it's awful hard work to carry Old Massa Abe on nothing but dis ere rail!!" The back end of the rail is carried by New York Tribune editor, abolitionist, and Lincoln supporter, Horace Greeley, who ensures that they will prove Lincoln can split rails and be elected President., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1860, by Currier & Ives, in the Clerk’s Office of the District Court for the Southern Distc. of N.Y., Probably drawn by Louis Maurer., Stamp on verso: L.A. DeVries., Purchase 1960., 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
Currier & Ives
Date
1860
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1860-31R [6419.F]
"The nigger" in the woodpile. [graphic]
Title
"The Nigger" in the woodpile
Description
Racist political cartoon satirizing the Republican Party platform during the 1860 presidential election. In the right, shows Abraham Lincoln saying, “Little did I think when I split these rails, that they would be the means of elevating me to my present position" as he sits on top of a woodpile labeled, “Republican Platform.” An enslaved African American man, portrayed as a racist caricature with exaggerated features, sits within the intertwined rails of the platform. In the left, New York Tribune editor Horace Greeley is confronted by "Young America," depicted as a white man, who represents the progressive wing of the Democratic Party. Greeley reassures him, "...you can safely vote our ticket, for we have no connection with the Abolitionist party, but our Platform is composed entirely of rails split by our candidate." "Young America" protests "It's no use old fellow! You can't pull that wool over my eyes, for I can see 'the Nigger' peeping through the rails," and he points his finger to the African American man in the woodpile., Title from item., Date from the copyright statement: Entered according to Act of Congress in the year 1860, by Currier & Ives, in the Clerk’s Office of the District Court for the Southern Distt. of N.Y., Library Company, Annual report, 1967, p. 53., Accessioned 1999., 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
Currier & Ives
Date
1860
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1860-30R [P.9677]
Arms of ye confederacie. [graphic] / H.H. Tilley Del. et Sc.
Title
Arms of ye confederacie
Description
Civil War print using the allegory of a coat of arms to criticize slavery and Southern culture. Depicts the shield adorned with symbolic Southern imagery, including a mint julep, pistol, whip and manacles, and enslaved African Americans, including a woman with a baby, working in the field. The shield is flanked by a white man plantation owner, attired in spurs and smoking a pipe, and a bare-chested, barefooted, enslaved African American man in manacles. Above the shield stands a rooster between the Confederate flag and a flag with a skull, cross-bones, and the number 290. Above the rooster is a streamer inscribed "Servitudo Esto Perpetua." In the background, white men plantation owners play cards, two white men duel, and an auction of enslaved people is in progress., Title from item., Possible date of publication supplied by Reilly., RVCDC, Accessioned 1979., Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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
Tilley, H. H., engraver
Date
[1862?]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1862-13R [P.2275.9]
Oh! Massa Jeff dis sesesh fever will kill de nigger. [graphic] / [FJB?]
Title
Oh! Massa Jeff. dis sesesh fever will kill de nigger
Description
Cartoon depicting the ill effect of secession on enslaved people. In the dwelling of the enslaved African American men, Jefferson Davis, attired in a broad-brim hat and with the Union flag hanging from his pocket, checks the pulse of an emaciated, bedridden African American man with "Bond Plasters" on his chest. An angst-ridden enslaved African American man stands behind the bed and weeps as he holds a bottle of medicine. On the wall behind him are three posters advertising various medicines: "Dr. Jeffy's Celebrated Bond Plasters ...," "The Great Southern Remedies," "Dr. Jeffy's Celebrated Lettres du Marque A Radical Remedy for all Constitutional Afflictions.", Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1861 in the Clerks Office of the District Court of the Southern District of Ohio., Purchase 1961., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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.
Date
1861
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1861-22W [6449.F]
Senate chamber U.S.A. Conclusion of Clay's speech in defense of slavery. [graphic]
Title
Senate chamber U.S.A. Conclusion of Clay's speech in defense of slavery
Description
Cartoon satirizing an 1839 anti-abolition speech by the congressional orator Henry Clay focusing on his conflicting views on the abolition of slavery. Clay, despite deploring the institution of slavery, was an enslaver who was against immediate national abolition. Depicts Clay, in front of the Mason-Dixon line, coming to an agreement with John Calhoun, his chief congressional rival and leading senatorial supporter of slavery, about the issue of slavery. They both stand on past abolitionist resolutions and a prostrate enslaved African American man who quotes a verse from the Bible's book of Micah 7:8 that he will "arise." Clay's remarks "North" of the line reflect his abolitionist rhetoric; those "South" of the line refer to him being an enslaver. Calhoun states his pleasure in Clay's awakening to the societal benefits of slavery., Title from item., Date inferred from content., Accessioned 1979., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[1839]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1839-24w [P.2275.18]
The slavery question: Great prize-fight of the American eagle against the wolf and alligator. [graphic] / WA.
Title
The slavery question. Great prize-fight of the American eagle against the wolf and the alligator
Description
Cartoon portraying the extension of slavery as dependent upon the United States' successful annexation of California and Texas. Depicts the American eagle on a mound protecting her nest of hatchlings labeled "Texas" and "California" from a wolf and an alligator. The wolf dressed as a sheep is being restrained by John Bull who represents England and states, "I bet Canada" (a proposed U.S. annexation). The alligator is being restrained by Don Quixote who represents Spain and states, "I bet Cuba!" (another proposed U.S. annexation). In front of the nest sits a barefooted enslaved African American man, portrayed in racist caricature and attired in torn and worn clothes. He holds his head in hands with the unbroken pot of slavery on his left and the broken pot of liberty, under the foot of John Bull, on his right. Behind the nest stands a bowery B'hoy figure holding a banner inscribed, "The Union Forever" and George Washington stating, "Go it, my boy you will beat them all.", Title from item., Publication date supplied by Weitenkampf., Inscribed: Pl. 4., Purchase 1975., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[1844]
Location
Library Company of Philadelphia | Print Department Political cartoons - 1844-75W [8138.F]
The Clay compromise - a settler. [graphic]
Title
The Clay compromise - a settler
Description
Racist cartoon satirizing the Clay Compromise of 1850 concerning the extension of slavery to the territories. Depicts a prostrate enslaved African American man, portrayed in racist caricature, who is being pulled by ropes from each end by a Northerner and Southerner. The Northerner states, "We are content with the Compromise," and the Southerner states, "An equal division is fair." Standing over the enslaved man is Henry Clay, who is poised with a sword to cut him in two. William Lloyd Garrison rushes to stop Clay, stating "let the Union go; but spare the man!" A Quaker man confers with a minister about the compromise, saying "Well I'm very glad that Friend Clay has interfered." The minister responds that he hopes the question is settled because his parishioners have been quarreling so long that they almost forgot to pay him. A white man overseer about to whip a group of enslaved men, attired in yellow sarongs, exclaims, "Damn the niggers! Their hides are so used to the whip that they mind it no more than a horse.", Title from item., Date inferred from content., RVCDC, Purchase 1991., 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.
Date
[1850]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1850 - Cla [P.9314.3]
[George Washington crossing the Delaware]
Title
[George Washington crossing the Delaware]
Description
Commemorative print after the 1851 painting by Emanuel Gottlieb Leutze depicting General Washington's famous campaign across the icy Delaware River above Trenton on Christmas Eve 1776. A stoic Washington stands at the head of the lead rowboat surrounded by several of his dedicated men, including a white man soldier holding the American flag and the African American oarsman Prince Whipple, enslaved man and bodyguard to Washington Aide, General William Whipple. In the background, boats with the remaining troops and horses are visible., Copyrighted by M. Knoedler., Proof copy., Title from original painting in the collection of the Metropolitan Museum of Art, New York, New York., Gift of Anthony N.B. Garvan, 1981., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Giradet, Paul, engraver
Date
[ca. 1853]
Location
Library Company of Philadelphia | Print Department **GC - American Revolution [P.8646.1]
Rev. Richard Allen, founder of the American Methodist Episcopal Church, in the United States of America, 1779.
Title
Rev. Richard Allen, founder of the African Methodist Episcopal Church, in the United States of America, 1779
Description
Half-length portrait of the African American bishop, seated, and holding a book, possibly the Bible, in front of a curtain. He looks slightly to the left and points to an open page of the book with his right hand and clasps the upper edge of the other side of the book with his left hand. Allen is attired in a collared shirt, a vest, and a jacket. Allen was the first African American bishop as well as founder of the African Methodist Episcopal Church. He was born in Philadelphia and was enslaved by Benjamin Chew. He worked as a wood-cutter during his ordination. A full-length portrait of the white Quaker abolitionist and little person Benjamin Lay is on the verso. Lay is attired in a tricorn hat, a long shirt and jacket, britches, and boots. He holds a cane and book in his right hand., Manuscript note on border: "The curiosity of the portrait below is that it was made for the first Black Bishop in the UStates and perhaps the world! He is indeed a self created Bishop; nevertheless, as such he has now, in his 65 years, in 1824, probably created 100 ministers, by his ordination! He was born & bred in Philada. He was originally a slave of Benjn Chew's Esqre & learnd the trade of a Shoemaker; & like St. Paul, 'labored with his own hands,' while he ordained-", Title from item., Date form item., In John Fanning Watson's Extra-illustrated autograph manuscript of "Annals of Philadelphia", p. 276., Gift of John F Watson, June 1830., 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.
Date
1813
Location
Library Company of Philadelphia | Print Department Watson's Annals manuscript [Yi2 1069.F.276]
Marion crossing the Pedee.
Title
Marion crossing the Pedee Engraved from the original picture in the possession of the American Art-Union
Description
Historical print showing Brig. Gen. Francis Marion, known as the Swamp Fox, during the American Revolution and commanding a raft down the river in between one of his guerilla attacks in South Carolina. Marion, wrapped in a cloak, on horseback is surrounded by his band of volunteer soldiers, horses carrying light equipment, and a few dogs on the raft. The men include Marion's enslaved man Oscar Marion holding the reigns of his horse and another African American man rowing the raft with an oar. A few of the soldiers hold the reigns of horses swimming through the river. A second raft is visible in the background., Title from item., After an 1850 painting by William Tylee Ranney in the collections of the Amon Carter Museum, Fort Worth, TX., One of six prints issued in 1851 for the members of the American Art-Union in New York., Trimmed., Gift of David Doret, 2006., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Burt, Charles Kennedy, 1823-1892, engraver
Date
[1851]
Location
Library Company of Philadelphia | Print Department *GC - American Revolution [P.2006.28.22]
"Father, I cannot tell a lie: I cut the tree" [graphic] / Painted by G.G. White; Eng[raved by] John McRae.
Title
"Father, I cannot tell a lie: I cut the tree"
Description
Genre scene of the fictitious moment when the young George Washington confesses to his father, Augustine, a plantation owner, that he cut a cherry tree on their Virginia plantation. Depicts Washington's father holding his son's hand and comforting him. George looks up at his father and points his left hand towards the cut tree in the right. On the ground is an ax and an upturned hat. In the background, an enslaved African American man plows the pasture with a team of oxen, and an enslaved African American man and woman couple stands near the gate of a cottage, probably their dwelling., Title from date., Date based on the active dates of engraver., Gift of Mrs. Francis P. Garvan, 1978., Description revised 2021., Access points revised 2021.
Creator
McRae, John, engraver
Date
[1860]
Location
Library Company of Philadelphia | Print Department **GC - Washington [8384.F.16]
[Trio gem lantern slide of scenes from Uncle Tom's Cabin] [graphic].
Title
[Trio gem lantern slide of scenes from Uncle Tom's Cabin]
Description
Lantern slide with three sequential scenes from Harriet Beecher Stowe’s "Uncle Tom’s Cabin." Depicts scenes from chapters 26, 40, and 41. Chapter 26 image shows the deathbed scene of Eva St. Clair. Shows Eva in bed, seated up, holding a bouquet of flowers in her lap, and surrounded by people. Eva's parents Mr. and Mrs. St. Clare sit on either side of the bed and Miss Ophelia kneels and cries behind Mr. St. Clare. Mrs. St. Clare holds a fan, has a handkerchief in her lap, and looks toward Eva. Mr. St. Claire, rests his head in one hand, and has his other hand on the bed. In front of Eva, the enslaved men and women of the household, including Tom, kneel, stand, pray, hold handkerchiefs, and cry. The setting also includes a window with open drapes, a curtain behind Eva's bed, and a side table adorned with a vase of flowers. Chapter 40 scene represents the beating of Tom by his enslaver Simon Legree following the escape of the enslaved Cassy and Emmeline. Shows Tom, with grey hair, a grey beard, and barefooted, lying on a pile of cotton on the floor of a shed. Legree stands over him with one hand clenched in a fist toward his chest and the other clenched by his side as he raises up one of his feet. Chapter 41 scene shows an adult George Shelby visiting with the beaten and dying Tom after locating him in order to see if he "couldn't buy him back." Shows Tom lying on a pile of cotton near the opening to a shed. An open book lies near him by his hand. Shelby leans over Tom and holds his hand. In the background, outside of the opening, Legree stands, with his hands in his pant pockets and watching the men., Title supplied by cataloger., Date inferred from format., Printed on cover glass: Gem Slide. Gem Slide., Contains ornamental pictorial details in the corners of the cover glass., Contains label with series number: 107., Gift of David Doret., RVCDC
Date
[ca. 1890]
Location
Library Company of Philadelphia | Print Department Doret and Mitchell Collection - Photographs [P.2020.39.9]
Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..." [graphic] / C. Hunt, Sc.
Title
Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..."
Description
Racist caricature of an African American couple singing and playing guitar in a parlor. In the right, "Mr Mortimer," stands with his right hand over his heart and with his other holding a sheet of music. He wears mutton chops and is attired in a blue coat with tails, white bow tie, black pants, black stockings, black slipper shoes, and white gloves. His eyes look up and his mouth is open. He sings a love song while the woman seated in the left plays a guitar decorated with pink ribbons. Her head is turned toward the man and she sits on a bench with a pink cushion. She wears a large white bonnet adorned with pink bows and with ribbons tied into a bow under her chin. She is also attired in a yellow dress with long puff sleeves, blue trim, and a laced bodice, blue ankle-tied slipper shoes, as well as rings on her fingers. She comments that he sings "con a moor as de Italians say!!" The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting of scene also includes a carpet with a decorative pattern and framed portraits of an African American man and woman hanging on the wall behind the couple., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 12 of the original series published in Philadelphia., Contains eight lines of dialogue in the vernacular and dialect below the image: Dat is bery fine, Mr. Mortimer, _ you sing quite con a moor, as de Italians say!! “Take away, take away dos rosy lips, “Rich, rich in balmy treasure!_”Turn away, turn away dose eyes o blub, “Less I die wid pleasure!!!”, Inscribed: Plate 2., Charles Hunt was a respected 19th-century London engraver and etcher known mostly for his prints of sporting subjects., Copy published in Philadelphia described in Daily Chronicle, December 10, 1829, p. 2., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9705.1]
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "How you like de new fashion shirt...?"
Description
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a blue waistcoat with tails, a bronze vest, a green shirt with red striped collar, green cravat, tan pants, white gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a red headpiece over her hair that is in a top knot. She is attired in an orange calf-length, cap sleeved dress with floral details, red trim, and décolleté neckline; white opera gloves; red ankle-laced slippers; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand in a parlor with patterned carpeting and in front of three framed pictures on the wall, including portraits of a Black man and woman and a landscape view. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, Inscribed: Plate 9., LCP exhibit catalogue: Made in America p. 29., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9707.2]
Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..." [graphic] / C. Hunt, Sc.
Title
Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..."
Description
Racist caricature of an African American couple singing and playing guitar in a parlor. In the right, "Mr Mortimer," stands with his right hand over his heart and with his other holding a sheet of music. He wears mutton chops and is attired in a brown coat with tails, white bow tie, black pants, black stockings, black slipper shoes, and yellow gloves. His eyes look up and his mouth is open. He sings a love song while the woman seated in the left plays a guitar decorated with red ribbons. Her head is turned toward the man and she sits on a bench with a pink cushion. She wears a large white bonnet adorned with red and green bows and with ribbons tied into a bow under her chin. She is also attired in a blue dress with long puff sleeves, trim, and a laced bodice, red ankle-tied slipper shoes, as well as rings on her fingers. She comments that he sings "con a moor as de Italians say!!" The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting of scene also includes a carpet with a decorative pattern and framed portraits of an African American man and woman hanging on the wall behind the couple., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 12 of the original series published in Philadelphia., Contains eight lines of dialogue in the vernacular and dialect below the image: Dat is bery fine, Mr. Mortimer, _ you sing quite con a moor, as de Italians say!! “Take away, take away dos rosy lips, “Rich, rich in balmy treasure!_”Turn away, turn away dose eyes o blub, “Less I die wid pleasure!!!”, Inscribed: No. 19., Charles Hunt was a respected London engraver who is most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Daily Chronicle, December 10, 1829, p. 2., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[1833]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.15]
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "What de debil you hurrah for General Jackson for?"
Description
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a blue waistcoat, yellow vest, white cravat, blue pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched blue pants, a tan jacket with an elbow patch, a red vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Inscribed: Plate 5., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era.(PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz, A423.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9707.1]
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "What de debil you hurrah for General Jackson for?"
Description
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a waistcoat, vest, cravat, pants, and slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched pants, a jacket with an elbow patch, a vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Contains seven lines of dialogue in the vernacular below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz A423.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7659.F]
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "What de debil you hurrah for General Jackson for?"
Description
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a green waistcoat, blue vest, yellow and red polka-dot cravat, tan pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched blue pants, a red jacket with an elbow patch, a yellow vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Inscribed: No. 15., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980). p. 97. (LCP Print Room Uz, A423.O)., Charles Hunt was a respected London engraver who was most known for his aquatins of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1833]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.12]
Life in Philadelphia. "What you tink of my new poke bonnet...?" [graphic] / Hunt, Sc.
Title
Life in Philadelphia. "What you tink of my new poke bonnet...?"
Description
Racist caricature depicting an African American woman trying on a bonnet in the company of her African American companion, "Frederick Augustus." Depicts the woman in profile, in front of a standing mirror tilted toward her, trying on a yellow Dunstable bonnet so large that the side of her face is obscured. Her hand rests on the side of the hat adorned with a green ribbon. Her reflection is not visible in the mirror. She wears a pink and yellow calico dress with a white collar that covers her shoulders, blue gloves, patterned stockings, and red slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long blue overcoat with collar, yellow striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, and attired in a green waistshirt, watches the woman from behind a counter on which other Dunstable bonnet and a candlestick are displayed. Bonnets, hat boxes, and packages on shelving and green and yellow bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 14 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect below the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Inscribed: P.14., Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1833]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.8442]
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "How you like de new fashion shirt...?"
Description
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting a well-dressed African American couple discussing the "new fashion shirt" that he is wearing, seen from under his large yellow tie. "Miss Florinda," who wears a purple headpiece, and a low-cut rose colored dress, holds her fan coquettishly near her face and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" Contains five lines of dialogue above the image., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue, Made in America p.29., Nancy Reynolds Davison. E.W. Clay: American Political Caricaturist in Jacksonian America. (PhD. diss., The University of Michigan, 1980), p.88-89., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1860]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9715]
Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo..." [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo..."
Description
Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a large, oval-shaped headpiece with several feathers, an ankle-length dress with trim, puff sleeves and a rope belt with tasseled ends, gloves, ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in pantaloons, coat with tails, vest, shirt with turned up collar, bow tie, gloves, stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Setting of scene also includes a wooden floor.., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 13 of the original series published in Philadelphia., Contains five lines of dialogue in the vernacular and dialect below the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1967.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7645.F]
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "How you like de new fashion shirt...?"
Description
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a waistcoat with tails, a vest, a shirt, cravat, pants, gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a headpiece over her hair that is in a top knot. She is attired in a calf-length, cap sleeved dress with floral details, trim, and décolleté neckline; opera gloves; ankle-laced slippers; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand in a parlor with ornamented carpeting and in front of three framed pictures on the wall, including portraits of a Black man and woman and a landscape view. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue: Made in America p. 29., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1967.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7646.F]
Life in Philadelphia. "What you tink of my new poke bonnet...?" [graphic] / Hunt, Sc.
Title
Life in Philadelphia. "What you tink of my new poke bonnet...?"
Description
Racist caricature depicting an African American woman trying on a bonnet in the company of her African American companion, "Frederick Augustus." Depicts the woman in profile, in front of a standing mirror tilted toward her, trying on a yellow Dunstable bonnet so large that the side of her face is obscured. Her hand rests on the side of the hat adorned with a pink ribbon. Her reflection is not visible in the mirror. She wears a pink calico dress with a white collar that covers her shoulders, white gloves, patterned stockings, and white slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long blue overcoat with collar, striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, watches the woman from behind a counter on which other Dunstable bonnet and a candlestick are displayed. Bonnets, hat boxes, and packages on shelving and pink and yellow bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 14 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect below the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1833]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9709.1]
Life in Philadelphia. A black tea party. [graphic] / W. Summers, Del.; Hunt, Sc.
Title
Life in Philadelphia. A black tea party
Description
Racist caricature satirizing the African American guests and hosts, "Mr. Ludovico" and "Miss Rosabella," of a tea party. To the far right of the table, "Miss Rosabella," attired in a cap sleeve dress, pours steaming hot tea into a cup which tips over and spills onto a startled black cat on the floor. To her right, "Mr. Ludovico," attired in a waistcoat, passes a plate of sandwiches to "Miss Araminta,” attired in a puff sleeved dress and who protests his taking the trouble. Next to them, a frowning, woman guest, attired in a puff sleeved dress asks “Miss Rosabella” for "anoder cup" of tea after she helps the other guests. An African American man servant (in the right) and the other guests (in the left), a mother holding her baby and resting her feet on an ottoman and her young son seated on a small chair, observe and comment about the spilled tea on the cat and the flirtatious behavior of "Mr. Ludovico." The man servant wears a jacket with epaulets. He holds a cloth. The mother wears a dress with puffed sleeves. The boy wears a smock shirt and pants. He drinks a cup of tea. The scene is set in a parlor decorated with a carpet with an ornate pattern. Figures are depicted with oversize and exaggerated features. The women figures wear their hair in top knots, except the mother who wears a round, soft brimmed hat adorned with bows., Title from item., Date inferred by content and name of publisher., Contains six bubbles of dialogue in the vernacular within the image: I bery glad I ain’t the cat./I begin to see which way de cat jumps/When you have helped all de company Miss Rosabella, I’ll tank you for anoder cup/No trouble Miss Araminta none but de brave deserve de Fair/You take too mush trouble Mr. Ludovico./Mass cat tink him tea to hot., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1967.
Creator
Summers, William, delineator
Date
[ca. 1833]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7647.F]
Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?" [graphic] / Engd. by Chas. Hunt.
Title
Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?"
Description
Racist caricature mocking the ambitions of free Blacks depicting, "Mr. Cesar," an African American dandy asking an African American belle how she finds herself in "dis hot weader?" "Miss Chloe," responds that she is doing well, but "aspires too much!" In the left, the man stands and faces the woman, in the right, and whose back is to the viewer. The man is attired in a green waistcoat, a blue vest, pink cravat, yellow pants, blue gloves, and black slipper shoes. He holds a walking stick perpendicular to the ground in his right hand and a hat in his left hand. The woman is attired in a pink, puff-sleeved, ankle-length dress with red neckerchief and blue belt, grey wide-brimmed hat with a long veil and adorned with several flowers and blue and yellow ribbon, gloves, and white slipper shoes. She also wears earrings, a necklace, and a hair adornment. She holds a blue purse and green fan in her left hand and a parasol in her right hand. The man and woman stand on a grassy knoll. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: No. 8., Contains three lines of dialogue in the vernacular and dialect below the image: “How you find yourself dis hot weader Miss Chloe?” “Pretty well I tank you Mr. Cesar only I aspire too much!”, Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1833]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.8]
Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo?"
Description
Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a pink, large, oval-shaped headpiece with several feathers, an ankle-length yellow dress with pink trim, puff sleeves and a rope belt with tasseled ends, white gloves, white ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in white pantaloons, a brown coat with tails, white vest, white shirt with turned up collar, white bow tie, white gloves, white stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting of scene also includes a wooden floor., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to Willam Summers., Plate 13 of the original series published in Philadelphia., Inscribed: Plate 13., Contains five lines of dialogue in the vernacular and dialect below the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9707.4]
Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?" [graphic] / Engd. by Chas. Hunt.
Title
Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?"
Description
Racist caricature mocking the ambitions of free Blacks depicting, "Mr. Cesar," an African American dandy asking an African American belle how she finds herself in "dis hot weader?" "Miss Chloe," responds that she is doing well, but "aspires too much!" In the left, the man stands and faces the woman, in the right, and whose back is to the viewer. The man is attired in a blue waistcoat, a white vest, pink cravat, white pants, yellow gloves, and black slipper shoes. He holds a walking stick perpendicular to the ground in his right hand and a hat in his left hand. The woman is attired in a yellow, puff-sleeved, ankle-length dress, wide-brimmed yellow hat with a long veil and adorned with several pink flowers and blue ribbon, gloves, and white slipper shoes. She also wears earrings, a necklace, and a hair adornment. She holds a purse and fan in her left hand and a parasol in her right hand. The man and woman stand on a grassy knoll. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black-brown hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: Pl. 3., Contains three lines of dialogue in the vernacular and dialect below the image: “How you find yourself dis hot weader Miss Chloe?” “Pretty well I tank you Mr. Cesar only I aspire too much!”, Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9705.2]
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?"
Description
Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails, yellow pantaloons and white stockings, ruffled white shirt, white cravat, yellow gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a yellow, cap-sleeved gown with blue trim and an apron detail, a large white and pink-striped headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and earrings, declines his invitation because she is already "engaged for de nine next set." The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes a wooden chair with a red padded seat partially visible in the left foreground and background imagery depicting the interior of a ballroom with a large mirror and other African American men and women ball attendees portrayed with exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: No. 16., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Summers, William, artist
Date
[ca. 1833]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.13]
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?" [graphic] / Chas. Hunt, Sc.
Title
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?"
Description
Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails, white pantaloons and stockings, ruffled white shirt, red cravat, white gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a yellow, cap-sleeved gown with an apron detail, a large pink headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and red earrings, declines his invitation because she is already "engaged for de nine next set." She also slightly holds up the lower right corner of her apron with her right hand. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes a wooden chair with a red padded seat partially visible in the left foreground and background imagery depicting the interior of a ballroom with a large mirror and other African American men and women ball attendees portrayed with exaggerated features., Title from item., Date inferred from content., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: Plate 6., Shane White and Graham White's Stylin':African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Creator
Summers, William, artist
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7658.F]
Life in New York.
Title
Life in New York
Description
Collection of primarily racist social caricatures lampooning the etiquette and conventions of early 19th-century, middle-class New Yorkers, particularly the growing community of free African American persons. Eliciting the heightened racism in the antebellum North, the African American men, women, and children characters are depicted with exaggerated features, wearing boldly-patterned and colored clothes, and speaking in a vernacular to be portrayed and denigrated as illegitimate elite society. Caricatures also address “rules” of courtship, fashion, classism, and a dance lesson. Some caricatures also represent the sexism and ethnic divisions of the era., Influenced by the "Life in Philadelphia" series of 1828-1830, the series consists of at least eight prints published around 1830 by eminent New York lithographer Anthony Imbert. Although often attributed to Edward W. Clay, the different styles of the caricatures imply that the prints were executed by various artists employed by Imbert. The African American caricature, "A Five Points Exclusive," a lithograph published in the early 1830s by John Pendleton, an associate of Imbert, has been included as a part of the series., Serie title from items., Dates inferred from content and names of publishers., Original series contained at least eight prints., LCP holds four of the series. Three are first editions., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 93-95. (LCP Print Room Yz, A423.O), Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022.
Date
1830-ca. 1834, bulk 1830
Location
Library Company of Philadelphia | Print Department Life in New York (New York Set)
Life in New York. My name is Antonio Ceasa de Wilson..." [graphic] / Canova.
Title
Life in New York. My name is Antonio Ceasa de Wilson..."
Description
Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator
Canova, Dominico, artist
Date
[ca. 1830]
Location
Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]
Life in New York. My name is Antonio Ceasa de Wilson..."
Title
Life in New York. My name is Antonio Ceasa de Wilson..."
Description
Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator
Canova, Dominico, artist
Date
[ca. 1830]
Location
Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]
Life in New York. "Blakey I say, can't you by the powers of your stame engine..?" [graphic] / C. Ingrey, lithog., 310 Strand.
Title
Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description
Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]
Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Title
Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description
Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date
[ca. 1831]
Location
Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]
Scenery on the Pennsylvania Railroad Album
Title
Scenery on the Pennsylvania Railroad Album
Description
Album of photographs documenting the Philadelphia, Middle, and Pittsburgh divisions of the Pennsylvania Railroad, incorporated in 1846. The consolidated company sought to build a trunk route from Philadelphia to Pittsburgh through the Allegheny mountains in order to compete with the Erie Canal for freight traffic. In 1854, rail passage through the Alleghenies via the "Horse Shoe Curve" was achieved and spurred the establishment and growth of the several towns depicted along the route.
Date
1874
The game of secession or sketches of the rebellion
Title
The game of secession or sketches of the rebellion Our army and navy for ever!
Description
Gameboard containing a serpent-like figure comprised of 135 spaces surrounded by captioned vignettes also used on Civil War envelopes. Pro-Union designs advance the player and anti-secession designs retard the player. Vignettes depict portraits of prominent war figures; views of forts, soldiers, and preparations for battle; Union and Confederate flags; allegorical figures; and satiric and racist depictions of Confederates. Includes President Abraham Lincoln; Confederate President Jefferson Davis, Gen. Winfield Scott, Maj-Gen. George B. McClellan, Comm. S.F. Dupont, Confederate Gen. Beauregard; bombardment of Fort Sumter; Philadelphia Navy Yard; liberty; Columbia; and Confederate soldiers on retreat; riding a enslaved African American man, and protected by bales of cotton. "Directions" to play the game printed in the lower left corner. Flags and shields adorn the borders., Title from item., Originally part of a McAllister scrapbook of materials related to George McClellan. McAllister Collection, gift, 1886., Reproduced in Erika Piola, "For the millions: Civil War stationery for women and children in the McAllister Collection at the Library Company of Philadelphia," The Ephemera journal 13 (2010), [39]., 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.
Date
[1862]
Location
Library Company of Philadelphia | Print Department **GC - Games [5793.F.44]
Dancing for eels at Catharine [sic] Market N.Y.
Title
Dancing for eels at Catharine [sic] Market N.Y A scene from "New York as it is" as played by Chanfrau and Winans, at the Chatham Theatre N.Y
Description
Print after the theatrical advertisement published by Eliphalet Brown, Jr. and James Brown depicting the most popular scene from the mid-19th century play about the lives of the New York city lower classes. Shows an African American boy, attired in torn and worn clothes, street dancing while surrounded by a crowd of spectators. Spectators include an African American man, boy, and woman marketer with a basket; Mose, the central character of a fireman b'hoy, and a white man fish monger, attired in torn and worn clothes. Also shows a white woman vendor near a broadside titled "Mose" to the right of the image and the slip in the background. From the 18th century, Long Island enslave people would cross the East River to sell produce or to street dance to earn money, fish, or eels at the Catherine Slip Market. The performances transformed into impromptu dance contests paid for by market customers., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1848 by J. Baillie in the Clerk's Office of the District Court of Southn Dist of N.Y., Created postfreeze., Purchase 2005., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Baillie, James S., active 1838-1855
Date
1848
Location
Library Company of Philadelphia | Print Department *GC - Entertainment [P.2005.10]
[Montage of caricatures satirizing Southern Democrats] [graphic].
Title
[ Montage of caricatures satirizing Southern Democrats]
Description
Includes six captioned vignettes critically satirizing Southern democrats, copperheads, Jefferson Davis, and Andrew Johnson. Shows Democrats represented as an overseer forcing "Black Republicans" depicted as fleeing enslaved African American men, women, and children to vote their "Ticket in the South"; white men soldiers loading a cannon representing "General Grant giving the Rebel Copperhead Democrats some more grape"; Jefferson Davis fleeing in his "wife's petticoats"; "Johnson on a "Bender," after the Impeachment Trials; a skull and cross bones to symbolize that "Copperheads and Rebel Democrats are Poison"; and Johnson attired in torn and worn clothes and carrying a sack on his back as he is "Travelling for Tennessee." Several of caricatures also used as Civil War envelope designs., Title supplied by cataloger., Date inferred from content., Created postfreeze., Originally part of a McAllister scrapbook of Civil War miscellanies. McAllister Collection, gift, 1886., 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.
Date
[ca. 1868]
Location
Library Company of Philadelphia | Print Department political cartoons [ca. 1868] - Mon [(2)5786.F.176a]
The pious Mr. All-bone, taking leave of his directors previous to his departure for Europe. [graphic].
Title
The pious Mr. All-bone, taking leave of his directors previous to his departure for Europe
Description
Cartoon about the Panic of 1857 satirizing the dubious overseas departure of the Bank of Pennsylvania president Thomas Allibone preceding the failure of the financial institution in the fall of 1857. Allibone claimed he departed for Europe for health reasons with the support of the Board of Director. The board later charged he resigned while in debt $200,000 to the bank. Shows the Bank of Pennsylvania board wishing a teary-eye Allibone farewell at the "Steamer Europe Sail" wharf. The board stands on "Bank of Pennsylvania" charters and many sneer and hold handkerchiefs to their faces. To the rear of the group, a white woman "reduced to absolute want" from the bank failure, stands with her children, including a baby at her breast, and asks one of the board members "could you not through your influence, obtain me a situation as housekeeper or school teacher?" The member jeers that his influence is "for his friends" and she should get "some tickets for soup." At the front of the group, the wart-nosed, rotund head of the board, shakes Allibone's hand. He assures the departing president of the entire respect and sympathy for his "good care" of the funds of the "Board, and the Widows, and Orphans." He hopes Allibone will return with "renovated health and strength" as well as a purchased title that includes "Gentleman of the Grand Order of the Rag Mill and the Check Marked Good.", Allibone stands on several sheets of "stock" near his valises. He holds a handkerchief to his face, and carries the book of "Common Prayer" in his coat pocket. He responds that if "a liberal expenditure of THEIR money" restores his health that he will attempt to purchase a title. He also suggests that his well-wisher go to church regularly, keep out of jail, and keep his breeches buttoned up and he "will sail through this crisis with flying colors." In the right, an African American woman peddler holds her nose and states in the vernacular that it is because of the "bad odor of dis paper! won't git much fur dis." Beside her, a white boy fishing at the pier remarks to his wriggling, hooked worm that "yer bound to be catched at last." Also shows an African American man, attired in worn and torn clothing, seated and chewing a stick in front of an overturned barrel while a white cabman races his horse-drawn coach down the street of grocery stores in the background. The driver hollers "Stop him! He owes me 130 dollars for Cab-hire." Groceries advertised include onions, molasses, soft sawder (i.e., blarney), sugar, oil, and vinegar., Artist probably John L. Magee., Title from item., Date inferred from content., Weitenkampf incorrectly provides date of 1837., John L. Magee's print "The Dreadful Accident on the North Pennsylvania Railroad" (1856) lithographed on the verso. [7663.Fb], Purchase 1968., 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
Magee, John L., artist
Date
[ca. 1857]
Location
Library Company of Philadelphia | Print Department political cartoons - 1857-Pious [7663.Fa]
Scenery on the Pennsylvania Railroad
Title
Scenery on the Pennsylvania Railroad
Description
Album of photographs documenting the Philadelphia, Middle, and Pittsburgh divisions of the Pennsylvania Railroad, incorporated in 1846. The consolidated company sought to build a trunk route from Philadelphia to Pittsburgh through the Allegheny mountains in order to compete with the Erie Canal for freight traffic. In 1854, rail passage through the Alleghenies via the "Horse Shoe Curve" was achieved and spurred the establishment and growth of the several towns depicted along the route., Photographs depict stations, sites, landmarks, and landscape and townscape views along the Pennsylvania Railroad. Titles include No. 1 Ardmore Station ; No. 2 Bryn Mawr Station; No. 3 Bridge at Conways at Conewago; No. 5 Mount Union; No. 6 Susquehanna Bridge at Rockville (i.e., first bridge replaced in 1877); No. 7 Track Tank; No. 8 Jack Narrows; No. 9 Triple Track; No. 12 Bryn Mawr Hotel; No. 13 Coatesville Bridge; No. 16 Powers Run Allegheny River; No. 21 Sample track near Harmersville; No. 25 East from Harmersville; No. 26 Butler; No. 29 On the Kiskimenitus below Leechburg; No. 36 Greensburg near Huffs; No. 39 Hawkins; No. 40 West of Derry; No. 41 East of Morgan; No. 42 West of Beattys Station; No. 43 Monastery West of Latrobe; No. 44 1 1/2 miles East of S. W. Penna.; No. 46 Westmoreland Coal Co.; No. 47 Braddocks, Port Perry and Steel Works; No. 48 Westmoreland Landscape; No. 49 Stewarts Sample Track; No. 50 Section of Y at Walls; No. 51 Greensburg Station ; No. 53 West of Pack Saddle; No. 55 Lockport; No. 56 Below Conemaugh Furnace; No. 58 Cresson (Panorama); No. 61 Allegheny Tunnel , Galitzen; No. 64 Soap Fat; No. 57 Cresson (Panorama); No. 59 Kittanning from McGarveys; No. 65 Pulpit Rock; No. 67 From McKees Gap; No. 76 Bellefonte; No. 78 Mill Hall; No. 79 Birmingham; No. 80 Union Furnace and Station ; No. 81 Spring Creek; No. 82 Allegheny Tunnel; No. 83 Tyrone and Clearfield; No. 84 Grade on the Tyrone and Clearfield; No. 85 Bellefonte Gap;, No. 86 Mule Shoe and Deep Fill; No. 88 Pack Saddle East; No. 90 Logan House, Altoona, Pa.; No. 96 Jack Narrows, Mapleton; No. 97 Entrance to Jack Narrows; No. 98 Reservoir; No. 99 Bedford Springs; No. 100 View from Bedford Springs; No. 101 Bedford from Wickershams; No. 102 Below Bedford, Devils Backbone; No. 103 Bedford; No. 104 McVeytown Station; No. 105 Mount Dallas; No. 106 Mapleton; No. 107 Huntington; No. 108 Tuscarora Valley; No. 109 Sentinel Rock; No. 110 Tyrone Forges; No. 113 Standard Track, Lewistown Narrows; No. 114 From Centre of Susquehanna Bridge; No. 115 Terrace Mountain, Mill Creek; No. 116 From West End of Susquehanna Bridge; No. 117 Upper Mann’s; No. 118 Lewistown Narrows; No. 119 Susquehanna Bridge; No. 121 Standard Track at Newport; No. 123 Across the Allegheny; No. 127 General View of Bryn Mawr; No. 124 Saltzburg; No. 130 Bryn Mawr; No. 131 Bryn Mawr; No. 138 Irwin Station; No. 139 Sample Track, Wynnewood Station ; No. 140 Haverford College; No. 142 Haverford College Station; No. 147 Bridge at Columbia [Wrightsburg?] Pa.; No. 148 Wayne Station; No. 151 Terminus at Delaware City; No. 154 Harrisburg from Fort Washington ; No. 150 Chiques (i.e., Chickie’s Rock); No. 153 Henry Clay, Chiques and Marietta; No. 158 Landenburg; No. 159 Columbia Tunnel; and No. 162 Louella Residence of J. Henry Askin., Photographs include railroad tracks, locomotives and railcars, railroad equipment, bridges, tunnels, rock formations, mountains, passes, mills, furnaces, coal and steel works, hotels, Victorian-style residences, wooden dwellings and sheds, canal houses and canals, telegraph poles, townscape, farmsteads, marshland, rivers, and wooden fences. Several images, particularly views of stations, also depict posed figures, including an African American man at the Haverford College Station (No. 142). Details in other photographs include rail tracks with a water trough (No. 7); amateurishly hand-painted advertising text on a wood fence (No. 36); the "Exchange Hotel" near the Allegheny Tunnel in Galitzen (No. 61); men seated on the cow catcher of a partially visible locomotive at the grade on the Tyrone and Clearfield (No. 84); a gazebo-style pavilion at Bedford Springs (No. 199); oil tanks and drums (No. 123); the Pennsylvania Gas Coal Co. Office, a pedestrian bridge crossing over a creek, and the “Tom Smith Peanut Man” shed near Irwin Station (No. 138); the “Columbia” barge (No. 147); a "Water-Line of Boston" sailing vessel at the terminus at Delaware City (No. 151); the Martin Landenburger mill in Landenburg (No. 158); and the greenhouse attached to the residence on the Louella estate in Wayne (No. 162)., Photographer’s imprint inscribed in negative of several of the photographs: F. Gutekunst, Philada. or F. Gutekunst, Photogr., Philada., Date inferred from publication date of stereographs with similar content by the photographer. See stereo - Gutekunst - Views [P.9058.1-.142]., Photograph No. 4, 10-11, 14-15, 17-20, 22-24, 27-28, 30-35, 37-38, 45, 52, 54, 60, 62-63, 66, 68-75, 77, 87, 89, 91-95, 112, 120, 122, 125-126, 128-129, 132-137, 141, 143-146, 149, 152, 155-157, 160-161 not included in album., Inscribed in pencil upper right corner on mount of photograph No. 1: 40 guards., Inscribed in pencil below image on mount of photograph No. 1: about 1876., Inscription in pencil below title on mount of photograph No. 147: Wrightsburg. “Columbia” in title circled., See Gutekunst (Pennsylvania Railroad) research file., Gift of the Greer family in memory of David St. John Greer who after starting as a co-op student at Drexel University spent his working life with the Pennsylvania Railroad with the exception of a period of service with the U.S. Navy during WWII., Lib. Company. Annual report, 2014, p. 49-50., Description revised 2021., Access points revised 2021., Gutekunst, a prominent Philadelphia photographer, published a series of Pennsylvania Railroad views stereographs in 1875.
Creator
Gutekunst, Frederick, 1831-1917, photographer
Date
[ca. 1875]
Location
Library Company of Philadelphia | Print Department albums [P.2014.74]
The battle at Bunker's Hill near Boston June 17, 1775
Title
The battle at Bunker's Hill near Boston June 17, 1775
Description
Book illustration after John Trumbull's historical painting based on his eyewitness account of the battle while serving as a commissioned officer during the American Revolution. Dramatically depicts the scene of American Major General Joseph Warren's death proceeding the Americans' retreat from the hill. Amidst a melee of activity, Warren lies dying in the arms of an American militiaman who fends off a bayonnet pointed down over his body by an English soldier. British Major John Small restrains the bayonnet of his soldier as Americans Captain Thomas Gardner, holding a musket, Major Andrew McClary, and Colonel William Prescott stand guard over their fallen compatriot. Behind Small, British Major John Pitcairn, mortally wounded, is held up by Lieutenant William Pitcairn and to the far right American Lieutenant Thomas Grovesnor stands en garde shielding Peter Salem, an armed African American soldier who discharged the fatal shot at Pitcairn. British Generals William Howe, Henry Clinton, and Lieutentant Francis Lord Rawdon, flag in hand, continue the charge in the background. Other American soldiers involved in the battle include: Colonel Israel Putnam who gallantly leads the retreat; Rev. Samuel McClintock; Major Willard Moore, as well as several other free African American soldiers. American Lieutenant Colonel Moses Parker and British Lieutentant Colonel Sir Robert Abercromby lay dying., Published in John Howard Hinton's The history and topography of the United States of North America,... [LCP *Am 1834 Hinto, 11860.Q.1] and later editions., Printed below title: Vol. I. page . 226., Original painting at Yale School of Fine Art, New Haven, Connecticut., Described in Theodore Sizer's The works of Colonel John Trumbull (New Haven: Yale University Press, 1967), p. 95., Described in The Library of Congress' An album of American battle art, 1755-1918. (Washington, D.C.: The U.S. Printing Office, 1947), p. 27-30., 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., Access points revised 2021., Description revised 2021., Gift of Dolly Maass, 2002.
Creator
Archer & Boilly, engraver
Date
[1834]
Location
Library Company of Philadelphia | Print Department GC - American Revolution [P.2002.14]
The United States Centennial International Exhibition.
Title
The United States Centennial International Exhibition
Description
Share certificate issued by the Centennial Board of Finance containing a series of historical and allegorical vignettes, scenes, and figures. Vignettes depict a view on a coastline showing a white man, attired in colonial dress, reaping with a sickle beside a white man driving a plow in front of a steer-drawn conestoga wagon, a moving train, and sailing ships; the signing of the Declaration of Independence; and a scene depicting a Native American man, attired in pants and moccasins with a feather in his hair and a quiver of arrows on his back, covering his face from the sight of a dilapidated windmill near rows of industrial buildings spewing smoke. Along the sides figures include: tradesmen; laborers; soldiers; frontiersmen; inventors, including Benjamin Franklin; Native Americans; and an African American man reading. In the top center, allegorical figures of Liberty, Art, and Peace, portrayed as white women, accept offerings from representations of people from across the world, including African women; a woman attired in a turban, a person with a parrot on their shoulder, and an Asian man with a queue. Also contains: busts of George Washington and Ulysses S. Grant; an eagle holding an American flag; views of the State House and Capitol; and the printed seal of the Centennial Board of Finance. The Centennial Exhibition of 1876 celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., Title from item., P.2002.67.77 issued to Margaret R. Bringhurst for one share on October 20, 1875. Signed by Fred. Fraley, Treasurer; and John Welsh, President., 5788.F.10 issued to Mary Norris Logan for one share on November 10, 1876. Signed by Fred. Fraley, Treasurer; and John Welsh, President., Printed on recto: Shares $10. Each. Capital $10,000,000., P.2002.67.66 poor condition., Gift of Helen Beitler, 2002 [P.2002.67.66]., Originally part of a McAllister scrapbook of Centennial and Columbian Exposition views [5758.F.10. McAllister Collection, gift, 1886., 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
United States, Bureau of Engraving and Printing
Date
[ca. 1872]
Location
Library Company of Philadelphia | Print Department *Philadelphia certificates - Centennial [P.2002.67.77], Library Company of Philadelphia | Print Department **Philadelphia certificates - Centennial [5758.F.10]
A strike! A strike! [graphic] / C.
Title
A strike! A strike!
Description
Anti-labor union cartoon satirizing the several New York workers' strikes for higher wages in early 1836 during a harsh winter; a period of severe inflation, including exorbitant market prices; and an era of property speculation. Depicts livestock on strike for a higher market value near fish peddlers attired in winter garb, including two African American shellfish vendors. Animals include a Tom turkey ordering a turkey hen not to sell her young ones because "gobblers will bring twenty shillings and hens fifteen"; hens refusing to lay eggs for "less than four pence a piece"; a pig holding a banner inscribed "Hams 15 cents per lb exclaiming "I shall Jew them out of a shilling a pound"; an indignant lamb and calf conferring about their deserved increased prices per pound; and a confident steer exhorting the range of high prices for ordinary beef, corn fed beef, and beef shins. In the foreground, two African American men vendors get advice from two African American marketers, portrayed in racist caricature and speaking in the vernacular, about oysters unable to "strike for de frost" and that "gemmen" will not buy open mouthed clams. A white man fish peddler hawks his bass at "whole for two shilling de pound" and cut at "tree shillin" to a white gentleman inquiring about fresh fish. In the right, a barking dog sits on his "House to let. Inquire No. 48 Courtlandt St." (address of publisher) and comments "I feel like a savage! this is all contrary to law," probably an allusion to the "Geneva ruling" of 1835 by the New York state supreme court, which proclaimed unions and strikes forbidden by law., Title from item., Artist's initial lower left corner., Publication information from Weitenkampf., Copyright statement printed on recto: Entered according to act of Congress in the Year 1836, by H.R. Robinson, in the clerk's office of the District Court of the United States of the Southern District of New York., Described in Nancy Reynolds Davison's "E.W. Clay: American political caricaturist of the Jacksonian era" (PhD diss., The University of Michigan, 1980), p. 164-165., Purchase 2003., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Clay, Edward Williams, 1799-1857, artist
Date
[March 1836]
Location
Library Company of Philadelphia | Print Department political cartoons - 1836 - 1w [P.2003.40.1]
Goodyears Rubber-Packing & Belting Company.
Title
Goodyears Rubber-Packing & Belting Company Warehouse 104 Chestnut St. Philada. Factory Newtown, Connecticut. Belting, packing, hose, clothing, druggist-articles, etc
Description
Advertisement showing the five-story offices and storefront known as the Girard Building (102-104, i.e., 306-308 Chestnut) tenanted by Goodyears, i.e., the Philadelphia warehouse of the New York Belting and Packing Company (104), "Peterson's Book Establishment," i.e., the store of publisher T.B. Peterson & Brothers, and C. J. Peterson, publisher of Peterson' Ladies national magazine (102). Lettering reading "Goodyears Rubber Packing & Belting Company" adorns the roof of the building. Through the open entryways and large display windows, clerks, patrons, and merchandise displays are visible in both stores. At Peterson's, clerks assist patrons with items from bookshelves surrounding the room in addition to a centrally located U-shaped display counter labeled "Peterson's Magazine." Stacks of books are displayed near the windows that contain promotions "Subscriptions for all Magazines" and "Chas. Dickens Complete Works." At Goodyears, a white man clerk stands at a counter in front of rows of shelves as he attends to a customer. Other patrons, including a white man and woman couple and a white man, converse and depart with rubber belting. A large model boot, shoes, and rubber toys adorn the display windows that are adorned with the company trademark and read "Goodyears Patent." A white man with a cane and an excited white boy, near his mother, peer at the displays from the busy sidewalk., Other activity, on opposite ends of the sidewalk, includes a white man paying a white newsboy for a paper, gentlemen in conversation, and a white man, a book under his arm, strolling by. Between the storefronts, a white man descends stairs within a central entryway. In the street, a coach with turned-down roof, occupied by a white lady, and driven by an African American coachman travels past a mounted First Troop Philadelphia City Calvary member in full regalia in the direction of a drayman. The white man laborer transports rubber belting on his horse-drawn dray. Two dogs greet each other in the street near his vehicle. Also shows shadowy figures, a man and two women, in upper floor windows of the buildings. Charles Goodyear patented the process to vulcanize rubber in 1844 and oversaw the factory where vulcanized rubber was practically manufactured at Newtown, Connecticut. Peterson established his magazine Peterson's Ladies national magazine in 1840 at 102, i.e., 306 Chestnut Street. Both establishments operated at the pre-consolidated address in 1856. Building razed to first floor by fire in 1857., Title from item., Date from Wainwright., Philadelphia on Stone, POS 322, Wainwright retrospective conversion project, edited., Accessioned 1982., Description revised 2021., Access points revised 2021.
Creator
Luders, E., artist
Date
[ca. 1856]
Location
Library Company of Philadelphia | Print Department **W158 [P.2080]
Goodyears Rubber, Packing & Belting Company.
Title
Goodyears Rubber, Packing & Belting Company Warehouse 104 Chestnut St. Philada. Factory Newtown, Connecticut. Belting, packing, hose, clothing, druggist-articles, etc
Description
Advertisement showing the five-story offices and storefront known as the Girard Building (102-104, i.e., 306-308 Chestnut) tenanted by Goodyears, i.e., the Philadelphia warehouse of the New York Belting and Packing Company (104) "Peterson's Book Establishment," i.e., the store of publisher T.B. Peterson & Brothers, and C. J. Peterson, publisher of Peterson' Ladies national magazine (102). At Peterson's, shadowy rows of books and folios, including one titled, "A. Kollner View Philadel," adorn the display windows flanking the closed entry. At Goodyears, a white man and woman couple is visible through the open entry, standing at a counter. A large model boot, and other shadowy merchandise adorn the display windows that are marked with the company trademark and read "Goodyears Patent." A white man with a cane and an excited white boy, near his mother, peer at the displays from the busy sidewalk., Other activity, on opposite ends of the sidewalk, includes a white man paying a white newsboy for a paper, gentlemen in conversation, and a white man, a book under his arm, strolling by. Between the storefronts, a white man descends stairs within a central entryway. In the street, a fancy coach occupied by a white lady and driven by an African American coachman travels past a mounted First Troop Philadelphia City Calvary member in full regalia in the direction of a drayman. The women passenger looks with an expression of disdain at the horse of the cavalryman and the white man laborer transporting rubber belting on his horse-drawn dray. Two dogs greet each other in the street near the vehicle. Also shows shadowy figures, a man and two women, in upper floor windows of the buildings. Charles Goodyear patented the process to vulcanize rubber in 1844 and oversaw the factory where vulcanized rubber was practically manufactured at Newtown, Connecticut. Peterson established his magazine Peterson's Ladies national magazine in 1840 at 102, i.e., 306 Chestnut Street. Both establishments operated at the pre-consolidated address in 1856. Building razed to first floor by fire in 1857., Title from item., Manuscript note on recto: Wood Oct. 10 56., Date supplied by Wainwright who suggests an alternate date of 1857 as well., Artist and publication information inferred from color variant. See **W158., Title annotated with correction in pencil. Comma between "Rubber" and "Packing" crossed out., Philadelphia on Stone, POS 321, Wainwright retrospective conversion project, edited., Accessioned 1982., Description revised 2021., Access points revised 2021.
Creator
Luders, E., artist
Date
[ca. 1856]
Location
Library Company of Philadelphia | Print Department **W159 [P.2079]
A foot-race. [graphic]
Title
A foot-race
Description
A satire of the 1824 presidential election showing the candidates; John Quincy Adams, William Crawford, Andrew Jackson, and Henry Clay engaged in a foot race to win the presidency. A crowd cheers them on and remarks about the candidates reflecting the regional and partisan views in the country. A Westerner attired in stovepipe hat with a powder horn exclaims, "Hurra for our Jacks-"son."" Former President John Adams cheers, "Hurra for our son "Jack."" An Irish man, portrayed in caricature and attired in torn and worn clothes, says, "Blast my eyes if I dont "venter" a "small" horn of rotgut on that "bald filly" in the middle [Adams]." A French man states, "Ah hah! Mon's Neddy I tink dat kick on de "back of you side" is worse den have no dinner de fourt of july." Two African American men, portrayed in racist caricature, look on and one remarks “Now old Hickory cuts dirt.” In the background is a "Presidential Chair" with a purse "$25,000 per Annum" and the White House., Title from item., Artist and publication date supplied by Reilly., NYPL copy copyrighted October 6, 1824., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Johnston, known as "the American Cruikshank" was a respected comic illustrator, engraver, and lithographer.
Creator
Johnston, David Claypoole, 1799-1865, artist
Date
[1824]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1824-4 [5760.F.28]
The meeting of the Friends. City Hall Park. [graphic]
Title
The meeting of the Friends. City Hall Park
Description
Cartoon portraying a distorted version of events surrounding New York Governor Horatio Seymour's "My Friend's" speech during the Draft Riots of 1863 when several African Americans were killed by working-class rioters. Portrays Seymour on the steps of City Hall in front of a riotous mob composed primarily of armed Irish-Americans who march past the building for "The Tribune," an anti-Seymour newspaper. Supporting Seymour from behind are a fool with a cap inscribed "Express" (i.e., a Pro-Seymour newspaper), and former Mayor Fernando Wood and Tammany boss Peter B. Sweeny, both "Copperhead" Democrats who advocated peaceful settlement with the South and who believed Republican philanthropy favored African Americans at the expense of working-class whites. Seymour placates the mob announcing that he is their friend and that he has ordered the President to stop the draft. At his feet is an African American with a noose around his neck. A white man holds the severed head of an African American man, and several more African Americans are seen hanging from trees in the background., Probably drawn by Henry L. Stephens., Title from item., Date inferred from content., Place of publication supplied by Reilly., Text printed below image: A friendly voice.—Governor, we want you to stay here. Horatio Seymour.—I am going to stay here, “My Friends.” Second Rioter.—Faith, and the Governor will stay by us. Horatio Seymour.—I am your “Friend,” and the “Friend” of your families. Third Rioter.—Arrah, Jemmy, and who said he cared about the “Dirty Nagurs”? Fourth Rioter.—How about the draft, Saymere? Governor.—I have ordered the President to stop the draft! Chorus.—Be Jabers, he’s a “Broth of a Boy.”, RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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.
Date
[1863]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1863-12 [P.2275.11]
"Your plan and mine." [graphic]
Title
"Your plan and mine."
Description
Racist satire criticizing the 1864 presidential candidates, Democrat General George McClellan's and incumbent Abraham Lincoln's, divergent peace policies depicting each in a scene with Jefferson Davis and an African American Union soldier. The first scene depicts McClellan offering an olive branch, a frightened kneeling African American soldier, and a promise of non-interference to a scowling, armed Jefferson Davis, attired in torn and worn clothing. Davis acknowledges the branch, accepts the soldier, and expresses his satisfaction about the renewed ability for Southern domination of the government. The soldier, whose head Davis clutches, questions with horror McClellan's proposition to send him back to slavery after his service to the Union. The opposite scene depicts Lincoln pointing a bayonet at a cowering Davis who begs for readmission to the Union. Lincoln, on behalf of the nation, demands unconditional surrender and declares the end of slavery. The observing African American soldier replies in the vernacular that Davis will not have anything to do with him anymore., Title from item., Date from copyright statement: Entered according to act of Congress A.D. 1864, by Currier & Ives, in the Clerk's Office of the District Court of the United States, for the Southern District of N.Y., Originally part of a McAllister scrapbook of materials related to George McClellan and Abraham Lincoln. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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
Currier & Ives
Date
1864
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1864-18W [5793.F.4]
Slavery as it exists in America : Slavery as it exists in England. [graphic]
Title
Slavery as it exists in America : Slavery as it exists in England
Description
Racist, anti-abolition print challenging Northern abolitionists' view of slavery by favorably contrasting the living conditions of enslaved African American people in America with that of British industrial workers. First image depicts enslaved men, women, and children playing music, singing, and dancing during a hoe-down while Southerners and Northerners observe and comment about how the false reports to the North about the hardships of slavery will now be rectified. Second image portrays a British cloth factory where several emaciated white factory workers, attired in torn and worn clothes, have gathered, including a woman and her children referring to themselves as slaves; two workers discussing running away to an easier life in the coal mines; and workers commenting on their premature aging. A rotund priest and tax collector observe. Soldiers march in the background. Below the image is a small portrait of the "English Anti-slavery Agitator" George Thompson., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1850 by J. Haven in the clerk's office of the District Court of Mass., Manuscript note on verso: Deposited April 9, 1851, Recorded vol 26. pag, 145., Lib. Company. Annual report, 1967, p. 55., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2021., Access points revised 2021.
Date
1850
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1850-6 [P.9675]
"The irrepressible conflict" or the Republican barge in danger. [graphic]
Title
"The irrepressible conflict" or the Republican barge in danger
Description
Cartoon predicting doom for the Republican Party whose moderate antislavery factions intentionally caused radical abolitionist William Seward to lose the presidential nomination at the National Convention in 1860. Depicts the "Republican Barge" with Lincoln at the helm being tossed on rough sea near a rocky shore. Within the boat Horace Greeley, Missouri Congressman Edward Bates, and Globe editor Francis Blair disparage Seward and the "Irrepressible Conflict" (a catchphrase from an 1858 Seward speech referring to the conflict within the Union over slavery) he has caused as they throw him overboard. The hoisted Seward warns that he alone can save the boat. An African American man, portrayed as a racist caricature and attired in a white collared shirt, a bowtie, a striped waistcoat, pants, and a "Discords Patent Life Preserver" wrapped around his chest, says in the vernacular, “if de boat and all hands sink, dis Nigger sure to swim, Yah! Yah!” Additional passengers, including Massachusetts Governor Nathaniel Banks and "Courier" editor James Webb, comment on the breakers ahead and the improbability of being saved. Brother Jonathan (predecessor to Uncle Sam) anxiously stands on the shore admonishing them not to throw out Seward but to “heave that tarnal Nigger out.”, Probably drawn by Louis Maurer., Verso stamped: L.A. De Vries., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1860 by Currier & Ives in the Clerk's Office of the District Court for the Southern Distt of N.Y., Purchase 1960., 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
Currier & Ives
Date
1860
Location
Library Company of Philadelphia | Print Department political cartoons - 1860 - 28 [6418.F]

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