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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., 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]

Title: Life in Philadelphia. "Is Miss Dinah at home?"
Description: Racist caricature depicting a well-dressed, middle-class African American dandy, his right side toward the viewer, calling upon "Miss Dinah" on the outside of her basement apartment. He wears a tan top hat, bright green waistcoat, a yellow cravat with polka dots, tan pants, yellow gloves, and black slipper shoes adorned with bows. He holds a walking stick perpendicular to his thigh and a fob hangs away from his coat. An African American woman servant, wearing short-cropped hair and earrings, and attired in a red, short-sleeved dress and blue apron, stands at the open cellar doors and informs the suitor that Miss Dinah "is bery pertickly engaged in washing de dishes." She holds out a silver tray to collect the dandy's calling card. The dandy states that he is sorry that he "cant have the honour to pay [his] devours to her" and slightly crouches to place his card on the tray. The figures are portrayed with oversized and exaggerated features. Scene also shows an adjacent basement cellar with open doors and views of shuttered windows on the first floor to "Dinah's" residence and those adjoining., Inscribed: Plate 3., Title and date from item., William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository" and possibly helped finance the cost of production., Shane White and Graham White's Stylin': African American expressive culture ... (Ithaca: Cornell University Press, 1998), p. 108. (LCP Ii 4, A2880.O)., Nancy Reynolds Davison's E.W. Clay: American political caricaturist of the Jacksonian Era. (Phd. diss., The University of Michigan, 1980), p.88. (Print Room Uz, A423.O)., Accessioned 1999., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: 1828
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.9689]

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 and a black collar, white pantaloons and stockings, ruffled white shirt, 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 pink, 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 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 brown hand coloring. Scene also includes background imagery depicting other African American men and women ball attendees., Title from item., Date printed on item., Inscribed: Plate 5., The symbol of a key is used in place of the name Clay., Contains four lines of dialogue in the vernacular and dialect below the image: “Shall I hab de honour to dance de next quadrille wid you, Miss Minta?” “Tank you Mr. Cato, _ wid much pleasure, _ only I am engaged for de nine next set!_”, William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository.", Shane White and Graham White's Stylin': African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: 1828
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.8471.1]

Title: Life in Philadelphia. The lub letter
Description: Racist caricature depicting an African American woman reading a love letter. Depicts "Angelica” seated on a couch across from an end table on which a stationery box, ribbon, and a jar of ink rest as she reads her "billet-doux" addressed to “Miss Lillywhite, Snow Blackfriars." The couch has a wood frame and blue cushions. “Angelica” is attired in a pink cap-sleeved dress with lace details at the bust-line, blue, ankle-laced, slip-on shoes, and jewelry, including a heart-shaped pendant choker necklace, gold drop earrings, and rings. She wears her hair in a top knot and with a hair adornment. In the letter, “Augustus Octavio Whiteman” proclaims he cannot think of anything but her "classic features" and he would be "de Blackest ob villains" if he could see such "lubliness without feeling its influence." Figure of “Angelica” is portrayed with oversized and exaggerated features and her 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 the vernacular in the image: Ah! A billet-doux from my Charming Augustus/ My Fairest Angelica/Dy Slender form and Classic Features hab made sich an impression on my poor heart dat I cannot tink ob anything else. Indeed I must be de Blackest of Villains if I could see sich lubliness widout feeling its Influence as de Song says_”Eye ob fire lips ob Dew” “Cheeks dat shame the roses hue”/Tremain your Adorable Lubber Augustus Octavio Whiteman., Inscribed: No. 4., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.4]

Title: Life in Philadephia [sic]. The valentine
Description: Racist caricature depicting an African American man reading a comic valentine in his bedroom as he prepares for bed. Shows the bearded man, beside a bed with a pink canopy, holding the back of a tilted chair (his waistcoat on it) with his left hand and holding up the valentine illustrated with a picture of the devil in his right hand. The man is portrayed with an angry expression and standing with his feet far apart. He wears a night cap, a blue-striped shirt, a black neck tie, brown pantaloons from which a watch fob hangs, white stockings and one red slipper. A water pitcher and boots lie near his feet. In the left, an African American woman, smiles, and stands behind the ajar bedroom door. She wears a night bonnet, neckerchief, short-sleeved shirt, blue skirt, and black slippers. A stairwell is seen behind her. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item,, Date inferred from content and name of publisher., Contains one bubble of dialogue in the vernacular within the image: Holl’a! What’s all dis about_. “De rose is Red de Violets blue” De Debils Black and so are You. Well dat’s bery Fair indeed., Inscribed: No. 6., Charles Hunt was a respected 19th-century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.6]

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., 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]

Title: Life in Philadelphia. A black ball. La pastorelle
Description: Racist caricature ridiculing the manners and dress displayed at an African American dance ball by depicting attendees making malapropisms as they flirt with one another. A male attendee promenades with "Miss Zephyrina," on his left, dressed in a pink gown with white pantalettes and another woman dressed in a multi-colored gown on his right. He is impressed with Miss Zephyrina's "Rotations" from the poet "Joe Miller" who from which she quotes, "Grace in all he teps ... in all him action, dignity, and lub." In front of them, in the right, "Brudder Brutus" gestures toward Miss Zephyrina and states that he feels the same "Ting." Brutus, who is "cutting him capers by himself" has impressed the lady in the multi-colored dress who looks with rounded eyes upon his pointed toe. To the far right, a man depicted with bow-legs and attired in a large blue tie, and accompanied by a short-statured lady in a pink and yellow gown, is shown with his eyes looking to the left toward the "elegum Wenus in de trousers," Miss Zephrina. She makes his "heart tump about." Several other men and women attendees are seen in the background. Figures are depicted with oversize and exaggerated features. The men are depicted attired in coats with tails, pantaloons, stockings, and slipper shoes adorned with bows., Title from item., Date inferred from content and name of publisher., Contains five dialogue bubbles above the image: What a figure Broder Brutus look cutting him capers dare by himself./ What fine Rotations Miss Zephyrina make from de poets./ Grace in all he teps – heaben in he eye in all him action dignity and lub as de poet Joe Miller say/ If I didn’t feel jist de Ting how bery frit I should be afore such quizzes./ How dat elegum Wenus in de trousers make my heart tump about., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, delineator
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.10]

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., Plate 14 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect below the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Inscribed: P.14., Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.8442]

Title: Life in Philadelphia. "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., Inscribed: No. 16., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.13]

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

Title: Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..."
Description: Racist caricature of an African American couple singing and playing guitar in a parlor. In the right, "Mr Mortimer," stands with his right hand over his heart and with his other holding a sheet of music. He wears mutton chops and is attired in a brown coat with tails, white bow tie, black pants, black stockings, black slipper shoes, and yellow gloves. His eyes look up and his mouth is open. He sings a love song while the woman seated in the left plays a guitar decorated with red ribbons. Her head is turned toward the man and she sits on a bench with a pink cushion. She wears a large white bonnet adorned with red and green bows and with ribbons tied into a bow under her chin. She is also attired in a blue dress with long puff sleeves, trim, and a laced bodice, red ankle-tied slipper shoes, as well as rings on her fingers. She comments that he sings "con a moor as de Italians say!!" The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting of scene also includes a carpet with a decorative pattern and framed portraits of an African American man and woman hanging on the wall behind the couple., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Plate 12 of the original series published in Philadelphia., Contains eight lines of dialogue in the vernacular and dialect below the image: Dat is bery fine, Mr. Mortimer, _ you sing quite con a moor, as de Italians say!! “Take away, take away dos rosy lips, “Rich, rich in balmy treasure!_”Turn away, turn away dose eyes o blub, “Less I die wid pleasure!!!”, Inscribed: No. 19., Charles Hunt was a respected London engraver who is most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Daily Chronicle, December 10, 1829, p. 2., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.15]

Title: Life in Philadelphia. Romeo and Juliet
Description: Racist caricature depicting an African American man-woman couple in the characters of Romeo and Juliet during the balcony scene from Shakespeare's "Romeo and Juliet." In the right, "Romeo" wearing an Elizabethan costume including a plumed white hat, red cape, and white sash, holds his right, gloved hand over his heart and his left, ungloved hand out and holding the edge of his cape. He recites, "How silver sweet sounds Lubbers Tongues by Night, like sorpest Music to attending Ears." In the left, from the balcony, "Juliet" responds with the self-derogatory remark that as her complexion is "de mark of night" it is impossible to see that "a maiden blush bepaint" on her cheek. She is attired in a pink puffed sleeve, décolleté dress, earrings, a necklace, and hair adornment. She holds a glove and fan in her right gloved hand at her side and her left hand rests on the balustrade of the balcony. A rose vine climbs up the balcony and the tops of trees and a balustrade are visible behind “Romeo.” Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains two lines of dialogue in the vernacular below image: Romeo: How silber sweet, sounds Lubbers Tongues by Night; like sorptest Music to attending Ears./Juliet: Dou know’st de mask ob night is on my face, else would a maiden blush bepaint my cheek., Signed W.S. for William Summers in lower right corner., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9713.4]

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., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue, Made in America p.29., Nancy Reynolds Davison. E.W. Clay: American Political Caricaturist in Jacksonian America. (PhD. diss., The University of Michigan, 1980), p.88-89., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9715]

Title: Tregears black jokes. The Lady Patroness of Alblacks
Description: Racist caricature depicting a middle-class African American woman looking at herself in a full-length mirror in her well- decorated bedroom. Shows the woman, attired in a white, low décolleté underdress with puffed, cap sleeves, slightly lifting up the skirt of her dress in her left hand and her raised right hand holding a comb near her hair that is styled in a top knot. She looks at her reflection. She is portrayed with a wrinkled brow and bags under her eyes. Her reflection does not have these features. In the right, a bed with a canopy on which a wide-brimmed hat rests on a post; a table on which a pin pad, hair comb, pearl necklace, and earrings rest; and a black cat with its back raised are visible. In the left, on either side of the mirror, a pink dress rests on a clothing rack and white ankle-lace shoes lie on the carpeted floor. Scene also includes three framed picture on the wall in the background. Two are partially visible and the one fully visible shows a genre scene outside of a stone dwelling where an African American man is on his knee and holding the hand of an African American woman who stands in front of him. Figure is portrayed with oversized and exaggerated features and her skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Inscribed: No. 2., This caricature is similar in content to the prints from the series, "Life in Philadelphia" (London Set), and has been catalogued as a part of the series., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, delineator
Date: [ca. 1834]
Location: Library Company of Philadelphia PRINT | Print Department Life in Philadelphia (London Set) [P.9719]

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., 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]

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., 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]

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., 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]

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., 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]

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., 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!!, After the work of Edward W. Clay., Plate 13 of the original series published in Philadelphia., 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]

Title: Life in Philadelphia. A black ball. La pastorelle
Description: Racist caricature ridiculing the manners and dress displayed at an African American dance ball by depicting attendees making malapropisms as they flirt with one another. A male attendee promenades with "Miss Zephyrina," on his left, dressed in a yellow gown with green pantalettes and another woman dressed in a pink gown on his right. He is impressed with Miss Zephyrina's "Rotations" from the poet "Joe Miller" who from which she quotes, "Grace in all he teps...in all him action, dignity, and lub." In front of them, in the right, "Brudder Brutus" gestures toward Miss Zephyrina and states that he feels the same "Ting." Brutus, who is "cutting him capers by himself" has impressed the lady in the pink dress who looks with rounded eyes upon his pointed toe. To the far right, a man depicted with bow-legs and attired in a large yellow tie, and accompanied by a short-statured lady in a green gown, is shown with his eyes looking to the left toward the "elegum Wenus in de trousers," Miss Zephrina. She makes his "heart tump about." Several other men and women attendees are seen in the background. Figures are depicted with oversize and exaggerated features. The men are depicted attired in coats with tails, pantaloons, stockings, and slipper shoes adorned with bows., Title from item., Date inferred from content and name of publisher., Contains five dialogue bubbles above the image: What a figure Broder Brutus look cutting him capers dare by himself./ What fine Rotations Miss Zephyrina make from de poets./ Grace in all he teps – heaben in he eye in all him action dignity and lub as de poet Joe Miller say/ If I didn’t feel jist de Ting how bery frit I should be afore such quizzes./ How dat elegum Wenus in de trousers make my heart tump about., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, delineator
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [6253.F]

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., 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., After the work of Edward W. Clay., Plate 14 of the original series published in Philadelphia., 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]

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

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

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

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

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

Title: Philharmonic T[h]eatre, Islington. Every evening at eight. [Sa]turday at three and eight. Sam Hague's Ori[gi]nal Slave Troupe at St. James's Hall, Li[me] Street, Liverpool. Every evening at 8, Saturdays at 3 & 8, all the year round. Positively for four weeks on[ly] commencing Monday, Feb. 14th. Terminat[ing] [on] March 11 [ ] been re-built since the fire), St. James Hall, Liverpool, March 13th, 1876
Description: Advertising print depicting a racist scene to promote Sam Hague's Original Slave Troupe after their dislocation from their permanent home theatre, St. James Hall, following a fire in 1875. Shows a rhinoceros, a bell on his tail, pulling a cart on which members of the minstrel troupe, portrayed as Black men and women caricartures, perform. On the head of the animal, a man sits, his legs straight out while he holds the pole of a banner designed as an American flag and that is marked with advertising text for the troupe. On the animal's back, men and a woman stand, play hand instruments, and dance on a raised plank. On the cart, men play string and wind instruments, including a bass and trombone, as well as one man, bare-chested and in boxing pants, holds up an open umbrella, on which another man sits and plays the drum. The men figures are attired in suits and/or shirt sleeves and pants. The woman figure wears a kerchief, long-sleeved shirt, with the sleeves pulled up and apron-like, checkered skirt. Scene also includes blades of grass and a flowering plant in the foreground. Sam Hague's Original Slave Troupe evolved from the Georgia Slave Troupe Minstrels for which Samuel Hague assumed part management in 1866. Within the year, the troupe of formerly enslaved individuals, including singers, comedians, and minstrels, traveled to Great Britain to tour the country. In 1869, Hague acquired St. James Hall in Liverpool as a permanent home for the company, as well as a site to organize touring companies. In 1875, the hall was razed by fire and for the next year, the Troupe performed from other theatres such as Philharmonic Theatre, Islington. By this time, the Troupe was mainly comprised of white performers who performed in Blackface and Hague had managed the Troupe with a few different partners., Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes., Title from item., Date inferred from promotional text on item., RVCDC, Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Print torn in half and with sections missing.
Date: [1876]
Location: Library Company of Philadelphia | Print Department **GC - Advertisements - Samuel Hague [P.2022.57.1]

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

Title: Diaries
Description: Three volumes of The standard diary (Philadelphia, 1890-1892), belonging to Sarah Sanders Venning Holden, each stamped in gold on front cover: The Real Estate Trust Co. 1340 Chestnut St. Philadelphia. Sallie Venning composed brief daily entries, noting her activities, social engagements, visitors, vacations, and substitute-teaching assignments. There are accounts, and names and addresses at the end of each volume., Sarah Sanders Venning, known as Sallie, was born in Philadelphia Aug. 12, 1872, daughter of Julia and Edward Y. Venning. She was a substitute teacher. She married William B. Holden in 1903 and was widowed in 1928. She was active in St. Thomas African Episcopal Church and in various women's clubs. She died in 1959.
Creator: Holden, Sarah Sanders Venning, 1872-1959
Date: 1890-1892
Location: Library Company of Philadelphia | Books & Other Texts MSS Steven-Cogdell-Sanders-Venning Collection Box 4, Folder 3.

Title: [Portrait of Millie and Christine McCoy]
Description: Full-length portrait of the African American co-joined twins and performers. The women are attired in striped-patterned shirtwaists, a white ankle-length skirt with a black lace overlay, and black high-heeled boots with white stripes. Each wears a white neckerchief, and an adornment in her pulled back hair. Millie (on the left) holds a white fan in her hands. A backdrop and ornate, wooden pedestal with a book resting on it are visible in the background. The end of a drape partially covers the book. In the left, another wooden prop is partially visible. The twins, born enslaved, were exhibited nationally and internationally under various owners and managers. By the end of the 1880s the twins retired to a farm in their home state of North Carolina., Title supplied by cataloger., Photographer's imprint printed on mount., Date inferred from age of sitters and active dates of photographer in New York., Printed on verso: I was born in the State of North Carolina, Columbus Co., Anno Domini, 1851. And pronounced by scientists to be the 8th wonder of the world. / 'Tis not modest of one's self to speak,/ Buts, daily scanned from head to feet,/ I freely talk of everything,/ Sometimes to persons wondering./ Some people say I must be two!/The doctors say it is not true,/Some cry out humbug, till they see,/ And then exclaim, "great mystery."/ Two heads, four arms, four feet,/ All in one perfect body meet./I am most wonderfully made, /All scientific men have said./ None like me since the days of Eve,/ None such perhaps shall ever live./ If marvel to myself am I,/Why not to all pass me by?/ I am happy too, because content;/ For some wise purpose I was sent./ Our maker knows what he has done,/ Whether I'm created two or one./ Respectfully, Millie Christine. The Carolina twin, surnamed the 2-headed Nightingale., Mount trimmed., See History and Medical Description of the Two-Headed Girl:...(Buffalo, N.Y.: Warren, Johnson, & Co., 1869). (LCP Am 1869 Hist, 70318.D)., See LCP AR (Annual Report) 2015, p.42-43., Lib. Company. Annual Report, 2018, p. 61., RVCDC, Description revised 2022., Access points revised 2022., Horace Ollivier operated a New York studio beginning around 1881 at 779 Broadway.
Creator: Ollivier, Horace, photographer
Date: [ca. 1881]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Millie [P.2018.28]

Title: [Double-sided proof print containing a racist caricature of an African American mother and her children and a comic genre scene with a bookmaker]
Description: Left panel depicts an African American mother, portrayed in racist caricature, with her three children in the doorway of a home in the country. The mother, attired in a red headkerchief with white polka dots, a white shirt with pink polka dots and the sleeves rolled to the elbows, a green skirt, and a white apron with blue stripes, stands smiling with her arms crossed. Sitting in front of her are three young barefooted children attired in pink short-sleeved dresses. The children suck on the tubes of their nursing bottles. A small black dog, a cat with two kittens, and a pig gather and watch children. At the right of the door, a barrel rests under a drain pipe. A food tray lies nearby, and a horseshoe hangs above the door. The right panel shows "Joe McK.. Bookmak[er]" accepting bets, seated at his table, outside a stadium. The older white man bookie, attired in a gray bowler hat, a white collared shirt, a red polka dot vest, blue and white striped pants, and yellow shoes, smokes a cigar and accepts money from a young white man waiting at the head of the line. Also shows the backs of men leaving the bookie and headed toward the "Grand Stand" visible in the background., Title supplied by cataloger., Date from copyright statement: Copyright 1905 by J. Hoover & Son Phila., Printed lower left corner: 2039., Gift of S. Robert Teitelman, 2007., RVCDC, Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Hall, Bernhard, 1859-1935, artist
Date: 1905
Location: Library Company of Philadelphia | Print Department political cartoons - 1905 Proof [P.2007.23.8]

Title: Old '76 and young '48 From the original picture in the possession of the American Art-Union
Description: Mexican War-era genre print evoking the memory of the American Revolution depicting a young, white man Mexican War soldier returned home to his family, including his grandfather, a Revolutionary War veteran. In a parlor, the young man, attired in his uniform, sits, turned away from his meal, surrounded by his mother, father, sister, grandfather, and family dog. He raises his hand in the air as he regales his family about his experiences. They all look at him intently, except the grandfather, seated in an arm chair, and leaning on a cane, who stares a little off to the side. In the background, three servants (two African American men and an African American woman) listen from the doorway. A portrait painting of the grandfather as a young man in his military uniform hangs on the wall. In the left, a fireplace with mantle is visible. Above the mantle, a framed print reproduced after Trumbull's painting "Declaration of Independence" is displayed near lamps, a clock, and a bust of Washington on a bookcase. Also shows the soldier's cap and sword lying on the floor in the foreground., Title from item., After an 1849 painting by Robert Caton Woodville in the collections of the Walters Art Museum, Baltimore., One of six prints issued in 1851 for the members of the American Art-Union in New York., Gift of David Doret, 2006., Description revised., Access points revised., Described in the Bulletin of the American Art-Union, June 1850, p. 46., 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: Pease, Joseph Ives, 1809-1883, engraver
Date: 1851
Location: Library Company of Philadelphia | Print Department *GC - Mexican War [P.2006.28.23]

Title: The pic nic on the Fourth of July, "A day to be remembered"
Description: Copy of subscription print published in 1864 and 1866 for "Demorest's Monthly Magazine" after the painting of Lily May Spencer showing her family at a Fourth of July picnic in a grove near, possibly, the Passaic River, in Newark, N.J, the hometown of the Spencers. Shows Spencer's husband Benjamin in the center of the view, lying on his side, and with one hand on the broken rope of a tree swing. Family members surround him, seated and standing, and predominately laugh and clap, except for a boy who attempts to help him up and the artist who runs toward him with her arms out. Another child waves a flag while on her father's shoulders. In the foreground, in the right, an African American man servant with a picnic basket, pot, and ice cream churn at his feet is distracted by the husband and pours wine on an older female guest who scowls. To their left, an African American woman caretaker holds a concertina and watches the scene with African American man. Seated next to her is her young white charge, who rests on a dog. To the right, a boy, holding up a small instrument, possibly a noise maker, lays behind a log on which a young couple courts each other. They hold hands and the woman places a fan to her face. Lush greenery forms the landscape, and in the background, a path through the woods, and canoes, a sailboat, and boys playing at the river is visible., Title from item., Published and copyrighted by the New York Engraving, Printing & Publishing Company in 1864 and published by H. Peters and P. & J. Levy (N. Y.) in 1866., Gift of David Doret, 2009., Trimmed and strip of paper mounted on bottom edge., 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: Hollyer, Samuel, 1826-1919, engraver
Date: [ca. 1864]
Location: Library Company of Philadelphia | Print Department **GC - Holidays - F [P.2009.6.1]

Title: Girls passing Mansion House, [Hampton Institute, Va.]
Description: Shows a group of women students, attired in white dresses, marching in lines across a lawn at the Hampton Institute. Walking in front of the women are four African American men, attired in uniforms and caps, two of which carry an American and a "H.I." flag. They march past the Mansion House with its columned portico. In the left background, several women walk on the grass. The Hampton Institute, originally the Hampton Agricultural and Industrial School, was founded in 1868 by the American Missionary Association to provide education for freed Black citizens after the Civil War. It was built on the grounds of a former plantation, known as Little Scotland. The school was legally chartered in 1870 and accredited as a university in 1984. Notable graduates include Booker T. Washington. The Mansion House was the original residence of the plantation built in 1828., Originally located in negative album [P.2013.13a], Gift of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris, 2013., Description revised 2022., Access points revised 2022., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: April 24, 1912
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.2013.13.465]

Title: Band playing for march, [Hampton Institute, Va.]
Description: Film negative showing a marching band playing while a crowd of spectators looks on at Hampton Institute. The African American men musicians, attired in uniforms and caps, play their instruments and march down a walkway. Flanking them are white and African American men and women who watch. In the left is a brick building covered with ivy with several more buildings in the background. Trees line the walkway. Hampton Institute, originally the Hampton Agricultural and Industrial School, was founded in 1868 by the American Missionary Association to provide education for freed Black citizens after the Civil War. It was built on the grounds of a former plantation, known as Little Scotland. The school was legally chartered in 1870 and accredited as a university in 1984. Notable graduates include Booker T. Washington., Originally located in negative album [P.2013.13a], Gift of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris, 2013., Description revised 2022., Access points revised 2022., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: April 24, 1912
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.2013.13.468]

Title: Whittier School children, [Hampton Institute, Va.]
Description: Film negative showing a group of African American girls marching across a field between two straight lines of African American men, attired in uniforms and caps, at Hampton Institute. At the head of the procession are four African American men, two of whom carry an American and a H.I. flag. The girls, attired in white dresses, march in rows of four columns with their African American woman teacher at the front holding a girl’s hand. Flanking them are rows of men who hold their hats at their chests. Behind the girls, a group of men and a group of African American women, attired in white dresses, follow. In the left foreground, white and African American men and women spectators watch. Hampton River and several boats is visible in the background. The Hampton Institute, originally the Hampton Agricultural and Industrial School, was founded in 1868 by the American Missionary Association to provide education for freed Black citizens after the Civil War. It was built on the grounds of a former plantation, known as Little Scotland. The school was legally chartered in 1870 and accredited as a university in 1984. Notable graduates include Booker T. Washington., Originally located in negative album [P.2013.13a], Gift of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris, 2013., Description revised 2022., Access points revised 2022., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: April 24, 1912
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.2013.13.470]

Title: The girl students, [Hampton Institute, Va.]
Description: Film negative showing a group of young African American women marching in a column of four lines across a field at Hampton Institute. The women, attired in white dresses, walk parallel to the shoreline and turn and march towards the viewer. They are flanked by lines of African American men, attired in uniforms and holding their caps to their chest. One man holds a flag. In the left foreground, white and African American men and women spectators look on. Several spectators can be seen in the background in front of the Hampton River. Trees grow along the shore and several boats are on the water. The Hampton Institute, originally the Hampton Agricultural and Industrial School, was founded in 1868 by the American Missionary Association to provide education for freed Black citizens after the Civil War. It was built on the grounds of a former plantation, known as Little Scotland. The school was legally chartered in 1870 and accredited as a university in 1984. Notable graduates include Booker T. Washington., Originally located in negative album [P.2013.13a], Gift of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris, 2013., Description revised 2022., Access points revised 2022., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: April 24, 1912
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.2013.13.471]

Title: I'm a masher
Description: Set of five collecting cards depicting African Americans, portrayed in racist caricature with grotesque facial features, to satirize womanizing, courtship, marriage, and fatherhood. Includes (1) "I'm a Masher" showing a dapperly-dressed African American man, attired in a derby hat, a red bow tie with yellow polka dots, a yellow waistcoat, a blue jacket, and a watch fob, holding up a swagger stick, as well as cigarette that he smokes; (2) "I've Made a Mash" showing the "masher" in a close embrace with a stylishly-dressed African American woman, attired in a red dress with black polka dots, gold drop earrings, and yellow gloves; (3) "I'm Married" showing the couple on promenade with the woman, attired in a red dress with a yellow bow, a yellow and red hat, and white gloves, and the man, smoking a cigarette, and attired in a green bowler hat, a red ascot with shiny cravat pin, a blue jacket with a yellow flower boutonniere, a matching yellow with gray striped waistcoat and pants, and red gloves; (4) 'Home Sweet Home" showing the man, attired in a white collared shirt and blue-striped pants, seated with a look of anguish and surrounded by his six small children; (5) "Dady's [sic] Dead" showing the children as older and dancing around their father's grave adorned with a headstone inscribed "To the Memory of the Masher." Masher was a later 19th-century slang term for a womanizer, known for garish clothes and a vulgar manner., Copyrighted., Series no. printed in upper right corner., Purchased with funds from the Albert M. Greenfield Foundation., 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., Chicago Picture Co, a Chicago publishing firm of advertising card and novelties, was active circa 1881-circa 1883.
Creator: Chicago Picture Co.
Date: [ca. 1882]
Location: Library Company of Philadelphia | Print Department GC - Genre [P.2012.25.1-5]

Title: "De breddren and sisters will now relate dere experience."
Description: Set of five collecting cards depicting African Americans, portrayed in racist caricature with grotesque facial features and speaking in the vernacular, satirizing African American church life. Includes (1) "De Breddren and Sisters Will Now Relate Dere Experience" showing a white-haired African American minister at his pulpit before a small congregation of mostly African American women, attired in kerchiefs, and seated in pews; (2) Sister Hannibal. - "Oh Breddren and Sisters, Ise an Awful Sinner" showing Sister Hannibal standing up and confessing among the other congregants; (3) Sister Snowball. - "Yes, Breddren and Sisters, Dats So, I Kin Testify Dat Sister Hannibal is an Awful Sinner. I knows It" showing Sister Snowball standing, her hands clasped across her stomach, while Sister Hannibal, sits and frowns, and the minister rests his hand on his head; (4) "Sister Snowball, You Am a Liar" showing the "sisters" fighting among the other parishioners, who are in various states of commotion; (5) "De Congregation Am Dismissed" showing white men police officers escorting the congregation out of the church, including an unconscious Sister Hannibal in a handcart. Images also show the church interior and exterior, including windows, steps, and a tree., Title from item., Date of publication inferred from date of copyright, Series no. printed in upper left corner., Purchased with funds from the Albert M. Greenfield Foundation., RVCDC, 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., Sammis & Latham was a New York publishing firm active in 1882 that issued comic card sets and juvenile novelty items.
Creator: Sammis & Latham
Date: 1882
Location: Library Company of Philadelphia | Print Department GC - Genre [P.2012.24.1-5]

Title: Aunt Phebe at Mcaboy's, Polk Co. North Carolina
Description: Glass negative showing Phebe Mills, an older African American woman, sitting on the porch steps of the McAboy House. She is attired in a striped bonnet, a long-sleeved shirt with buttons down the front and a tie across the waist and a long skirt with ruffles at the bottom. She sits with her hands folded in her lap and looks slightly to the right. Beside her on the step lies a package wrapped in cloth. A white man, wearing a white beard and attired in a suit, sits in a rocking chair on the porch and looks towards her. Also visible is a shuttered window and an open doorway. Phebe Mills, born circa 1806, was married to Pauldo Mills, a farmer on the Columbus Mills Plantation. Originally owned by John Mills, this plantation was bought by Dr. Leland Reid McAboy in 1872 and became an inn known as the McAboy House., Time: 12:30 P.M., Light: Fair sun., Purchase 2001., Description revised 2022., Access points revised 2022., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: March 27, 1890
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.9895.1604]

Title: Aunt Phebe, Mcaboy's, N.C
Description: Glass negative showing Phebe Mills, an older African American woman, sitting on the porch steps of the McAboy House. She is attired in a long-sleeved shirt with buttons down the front and a tie across the waist and a long skirt with ruffles at the bottom. She sits with her hands balls and folded in her lap and looks slightly to the right. Beside her on the step lies her striped bonnet. A white man, wearing a white beard and attired in a suit, sits in a rocking chair on the porch and looks towards her. Also visible is a shuttered window and an open doorway. Phebe Mills, born circa 1806, was married to Pauldo Mills, a farmer on the Columbus Mills Plantation. Originally owned by John Mills, this plantation was bought by Dr. Leland Reid McAboy in 1872 and became an inn known as the McAboy House., Same as last., Time: 12:30 P.M., Light: Fair sun., Purchase 2001., Description revised 2022., Access points revised 2022., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: March 27, 1890
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.9895.1605]

Title: "I'm a farder"
Description: Set of four collecting cards depicting racist caricatures of African Americans to satirize fatherhood and the question of paternity. Titles are in the vernacular. Includes "I'm a Farder" showing a dapperly-dressed African American man, attired in a white collared shirt, a red tie, a gray waistcoat, a blue jacket, and blue-and-white striped pants. He talks to his "Aunty," an African American woman, attired in a red and yellow head kerchief, hoop earrings, a green and red shawl, a red dress, and a white apron, and holding her hands to her chest; "Aunty Says Der Am Two" showing the man with a sheepish look and his hands in his pockets while "Aunty" smiles; "And Dat One Am kinder White" showing the man aghast and standing straight up as "Aunty" holds out her hands in a near gesture of comfort; and "If Dat Chile Dont Change Color Der'l Be Trouble in Dis Yer Fam'ly" showing the man forlorn, hands in pockets, and looking down at this two infants being held by "Aunty" in her lap, while she sits in a chair under a placard reading "Bless Our Home." The baby in the left has a dark skin tone, and the baby in the right has a light skin tone., Copyrighted., Title from item., Date inferred from content., Purchase 2012., RVCDC, Description revised 2021., Access points revised 2021., Purchased with funds from the Albert M. Greenfield Foundation., 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: [ca. 1880]
Location: Library Company of Philadelphia | Print Department GC - Genre [P.2012.23.1-4]

Title: Facsimile of the signatures to the Declaration of Independence
Description: Commemorative print containing facsimiles of the signatures of the signers of the Declaration of Independence within an ornamental border. In the top of the border are allegorical figures of Justice, depicted as a white woman carrying scales and a sword, and Liberty, depicted as a white woman attired in a liberty cap and carrying a spear and shield. An eagle stands between them next to a crest of an American flag. Along the sides of the border are the state seals of the original thirteen colonies. At the bottom is a vignette, “The Capitol, Washington,” showing the Capitol building. Vigettes also includes several white men standing with a dog and an African American woman caregiver with a white child who holds a hoop., Title from item., Date inferred from the aesthetics of the content., Contains printed statement by John Quincy Adams, Department of State, dated April 19, 1819 declaring the signatures "Exact Imitations.", McCabe, a New York engraver, was active in the mid-19th century., Purchase 2002., 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: Allen, J. W., engraver
Date: [ca. 1855]
Location: Library Company of Philadelphia | Print Department GC - Declaration of Independence [P.9999]

Title: Is yo' sho' lady when I wears dese stockings I won' fin' ma laigs all black
Description: Racist caricature reminiscent of the plate "Have you any flesh coloured silk stockings...?" from E.W. Clay's racist satiric series, Life in Philadelphia, originally published in the late 1820s and early 1830s. Depicts an African American man dressed as a woman attired in a brimmed hat, a long-sleeved dress tied with a bow at the back, a fur shawl, shoes, and with a closed umbrella and a basket at her feet. She sits in front of the counter of a dry goods store and inquires in the vernacular about a pair of dark stockings which she holds. A young white woman sales clerk smiles with her elbows on the counter and displays to the customer a second pair of dark-colored stockings. Bolts of fabric rest on shelves behind the clerk, and socks and hosiery hang above. A white woman customer shops at the other end of the counter, in the right., Title from item., Date from copyright statement: Copyright 1902 by Underwood & Underwood., Printed on mount: Works and Studios. Arlington, N.J. Westwood, N.J. Washington, D.C., Sun sculpture trademark printed on mount., Title printed on verso in six different languages, including French, German, and Spanish., Grey mount with rounded corners., See Life in Philadelphia. "Have you any flesh coloured silk stockings...?" [LCP Life in Philadelphia (Philadelphia) P.9701.9], Purchase 2002., RVCDC, Description revised 2022., Access points revised 2022., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Underwood & Underwood
Date: 1902
Location: Library Company of Philadelphia | Print Department stereos - Underwood & Underwood - Genre [P.2002.31]

Title: Mrs. Lena Mason's Chautauqua meetings, Aug. 1st - Sept. Phila, Pa
Description: Postcard showing an African American Chautauqua meeting. Depicts African American men, women, and children gathered near several tents. In the foreground, an African American woman and man, possibly Mrs. and Mr. Mason, stand and look at the viewer next to a wooden chair with a hat on top of it. Chautauqua meetings, developed from the Lyceum Movement, were traveling tent shows providing education and entertainment to early 20th-century audiences., Title and date from item., Photographic paper company's imprint on verso: Mermont Photo Paper Co., New York., Purchase 2001., Description revised 2022., Access points revised 2022., Digitized with funding from a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: 1908
Location: Library Company of Philadelphia | Print Department LCP postcards - Events [P.9933.9]

Title: Philadelphia fashions, 1837
Description: Racist cartoon depicting middle class African American Philadelphians used to arouse Northern anti-Black fears that well-to-do African Americans threatened the racial status quo. Depicts a physically attractive and elegantly dressed African American man and woman couple who have stopped during a stroll. The woman, attired in a large bonnet, elegant gown, and holding a parasol asks in the vernacular, "What you look at Mr. Frederick Augustus?" The man, attired in a suit, a top hat, and holding a walking cane in one hand and a monocle to his eye with the other answers, "I look at dat White loafer wot looks at me. I guess he from New York." The man and woman also each wear broaches depicting portraits. The couple are possibly prominent African American Philadelphians Frederick Augustus Hinton and Elizabeth Willson Hinton., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1837, by H.R. Robinson in the Clerk's Office of the Dist Court of the U.S. of the Southern District of N. York., Due to the similar content of this caricature to the prints from the series, "Life in Philadelphia," the lithograph has been catalogued as a part of the series., Purchase 1958., 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., E.W. Clay (1799-1857), born in Philadelphia, was a prominent caricaturist, engraver, and lithographer who created the "Life in Philadelphia" series which racially lampooned middle-class African American Philadelphians of the late 1820s and early 1830s.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: 1837
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1837 - Phi [6281.F]

Title: [Vegetable cultivation at demonstration center at Little Wakefield, Germantown]
Description: Group of young women, including an African American woman, from the National League for Women's Service with plow, wheelbarrow, watering can, and other tools working in a vegetable garden. Shows eighteen women spread out over the garden tending to different plants. In the center, the African American woman stands holding a pitcher. A voluntary organization in support of the homefront during World War I, the League used the Little Wakefield estate as a demonstration center. They held classes in home economics and canning and preserving, grew fruits and vegetables, and cultivated bees. Little Wakefield was built by Thomas Rodman Fisher in 1829 on property adjacent to his father's estate, Wakefield, located at 1601 Lindley Avenue. La Salle University purchased the land in 1989., Title from published postcard., Date inferred from content., Photographer's blind stamp on recto., Purchase 1989., Description revised 2022., Access points revised 2022., Retrospective conversion record: original entry, edited., 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: Pancoast, Charles R., 1858-, photographer
Date: [ca. 1918]
Location: Library Company of Philadelphia | Print Department photo - Pancoast [P.9276.41]

Title: Life in Philadelphia (London)
Description: Collection of social caricatures lampooning the pretensions of early 19th-century middle-class Philadelphians, mainly the city's growing community of free African Americans. Influenced by an increasing fascination with American culture and a growing racism stemming from the abolition of slavery in England, the African American characters are depicted with grotesque features and manners, wearing outlandish clothes, and speaking in patois and malapropisms to be portrayed as ineptly attempting to mimic white high society. Subject matter of the caricatures include absurd scenes of courtship and displays of etiquette on the street, at residences, at society balls, and in allegory; fashion; promenades; the abolition of slavery; the election of President Andrew Jackson; tea parties; and depictions of African Americans at work., British reprint of E.W. Clay's "Life in Philadelphia" series with ten of the original fourteen prints redrawn by William Summers, etched with aquatint by Charles Hunt, and published by Harrison Isaacs in London in the early 1830s. W.H. Isaacs continued issuing the prints altering the original content of the series by adding new subjects and removing the white caricatures. Around 1833 engraver and print seller, Gabriel Shire Treager assumed the publication of the series and added six new subjects creating a series of twenty. In 1834, Tregear published a similar series of caricatures in book form without the "Life in Philadelphia" moniker entitled, "Tregear's Black Jokes, being a Series of Laughable Caricatures in the March of Manners amongst Blacks." In 1860, London publisher T. C. Lewis reissued the series of twenty prints. Variants of prints from the series and additional caricatures with similar content; "The Cut Direct," "Sketches of Character. At Home and Abroad," "Philadelphia Dandies," and "The Lay Patroness of Alblacks" have been included as a part of the series., LCP AR [Annual Report] 1967 p. 51-53., LCP AR [Annual Report] 1968 p. 18-20., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 85-100. (LCP Print Room Uz, A423.O)
Creator: Summers, William, artist
Date: ca. 1831-ca. 1860, bulk 1831-1834
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set)

Title: North Carolina cotton plantation
Description: Collection depicting scenes on a cotton plantation, probably in North Carolina. Images include African American men and women at work picking cotton, often amongst large piles of cotton; wooden buildings on the plantation grounds; and portraits and candids of the African American agricultural laborers and resident children., Name of provenance from manuscript note on verso of P.8502.13: John H. Gibbons, Jr., b. North Carolina, in Phila. for medical school., Name of photographer from manuscript note on verso of P.8502.13: Dear Jno. -Sorry I did not get to see you before you left Phil. but Harvey came through & I went over to NY with him. So did not get around. Harry Sanders. I call this one of my best shots., Gift of Marjorie G. Battles, 1979., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Sanders, Harry, photographer
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department photos - Sanders [P.8502.1-18]

Title: [Philadelphia and Reading Railroad Company tracks under construction to raise grade crossings, Ninth Street above Poplar Street in Philadelphia]
Description: View of fenced in railroad tracks under construction with a railroad construction crew in the distance. The project, to raise tracks above street level to prevent pedestrian casualties from Wayne Junction to Spring Garden Street, lasted from 1907 to 1911. Residences and businesses line the street. Inside the fence, pedestrians, including African Americans, look on from and traverse the makeshift dirt walkways. An African American woman looks on from a second story window, Negative inscribed: 10255; 3-7-10; 0-65., Title supplied by cataloger., Manuscript note on verso: Meyers STW 4 23 13., Forms part of: Philadelphia and Reading Railroad Company Photograph Collection., Purchase 1989., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Harrison, Edward, photographer
Date: March 7, 1910
Location: Library Company of Philadelphia | Print Department Philadelphia and Reading Railroad Company [P.9260.420]

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