Customer. "Rather cool weather Pete, for a close crop like that." Pete. "Can't help it Boss---the proprietor says long hairs gits in de wittles." [graphic].
Title
Customer. "Rather cool weather Pete, for a close crop like that." Pete. "Can't help it Boss---the proprietor says long hairs gits in de wittles."
Description
Reproduction of a drawing of a racist, comic scene showing an African American waiter serving a bearded, white man seated at a restaurant table. The African American waiter is depicted with exaggerated features, including an oblong-shaped head. He wears a black suit, a white shirt with a high collar, and an apron around his waist. The waiter stands beside the table that is covered in a tablecloth. He rests his left hand on it and holds a bowl of soup on a saucer in his right. The customer, attired in a tuxedo, rests his left arm near a pitcher, glass, napkin and condiment display on the table. In the background, a bald man, sits and eats at a nearby table. Paneling adorns the walls of the restaurant on which the morphed shadow of the waiter is visible., Title printed on negative., Yellow mount with curved corners., Date inferred from attire of depicted figures., Gift of David Long., RVCDC, Description revised 2022., Access points revised 2022.
Date
[ca. 1880]
Location
Library Company of Philadelphia | Print Department stereo - unid. photo - Portraits & Genre [P.2018.16.8]
[Proofs from specimen album loose prints collection]
Title
[Proofs from specimen album loose prints collection]
Description
Contains proofs, primarily of advertising vignettes, depicting views of factories and storefronts predominantly in Ohio. Businesses depicted include manufacturers of saddlery hardware, "burial cases," sewing machines, and glass; dealers of liquor, dairy supplies, wallpaper and painter supplies; and engravers, printers, and lithographers. Vignettes often include street and pedestrian traffic. Prints also show portraits of men, women, and children; genre and satiric scenes, including the stereotype character "Uncle Remus" (portrayed in racist caricature) designed for trade cards; pictorial and border details designed for certificates, labels, and billheads; machinery and transportation vehicles; trademarks and seals; and a rocking chair. Series also contains a reward of merit designed as a stock certificate and an uncut sheet of six illustrations titled in German. Illustrations primarily depict historical and religious scenes, including the conversion of Saint Eustace., Title supplied by cataloger., Various printers, including H.J. Toudy & Co. and W.J. Morgan & Co., Originally part of Specimens Album [P.9349]., Gift of Margaret Robinson, 1991., RVCDC, Description revised 2021., Access points revised 2021., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Added to African Americana Digital Collection 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. 1860-ca. 1882]
Location
Library Company of Philadelphia | Print Department Specimens Album Loose Prints Collection - Proofs [P.9349.296, 308, 320, 339, 342, 344-347, 349, 351-353, 360, 365, 416, 419, 427-430, 443, 445]
An unpleasantness in Swampoodle
Title
An unpleasantness in Swampoodle
Description
Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting an altercation in the post-Reconstruction African American and Irish northeast Washington, D.C. working-class neighborhood "Swampoodle." The figures are drawn with racist and caricatured features and mannerisms. In the center, an African American woman holds an ax up to another African American woman who stands with her hands at her hips, and with a look of surprise on her face. A third African American woman to the left of the woman with an ax attempts to reach for the weapon, while a fourth African American woman holds a switch and looks on with a stunned expression. Beside the stunned woman, a small African American boy stands in front of a fifth African American woman leaning over to pick up a rock. In the far left, an African American police officer is being led by an African American boy to the group of women. A shadowy depiction of a crowd of men, women, and children, some holding up brooms and sticks, is visible in the background. Scene also includes wash buckets, switches, and weeds on the ground near the central figure's feet. The central figures wear worn shirts and long skirts or dresses. The woman threatended wears the most worn cloths and rags on her feet. Three of the women wear kerchiefs and two wear aprons. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to be based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower left of original print: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn., Purchased with the Davida T. Deutsch African American History Fund., RVCDC, Description revised 2022., Access points revised 2022.
Date
1887
Location
Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2015.22 & P.2020.16.6]
Congressional surgery legislative quakery. [graphic] / A., Del.
Title
Congressional surgery legislative quackery
Description
Cartoon addressing the defeated South's resistance to the pending post war amendments which would declare equal rights for African Americans. Depicts a doctor's office where the seated "Dr. North" counsels "Patient South," who stands before him with his arm in a sling. He proposes that after the removal of the South's legs the "Constitutional Amendment" peg leg, which rests on his desk, will support him well. The South states that he "Can't See it." In the left, a young African American person crouches on the floor beside the doctor's chair. Behind the desk stands a bookshelf labeled "Congressional Surgery, Legislative Quackery" where a skull and a bottle of "Black Draught" are displayed. Contains three lines of dialogue below the image., Title from item., Date of publication supplied by Weitenkampf., Date of publication suggested by Reilly is 1860 as the content suggests that the cartoon was published following the proposed Crittenden and Douglas Compromises., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[1866?]
Location
Library Company of Philadelphia | Print Department political cartoons - 1866 - 10W [5760.F.115]
Congressional surgery legislative quakery. [graphic] / A., Del.
Title
Congressional surgery legislative quackery
Description
Cartoon addressing the defeated South's resistance to the pending post war amendments which would declare equal rights for African Americans. Depicts a doctor's office where the seated "Dr. North" counsels "Patient South," who stands before him with his arm in a sling. He proposes that after the removal of the South's legs the "Constitutional Amendment" peg leg, which rests on his desk, will support him well. The South states that he "Can't See it." In the left, a young African American person crouches on the floor beside the doctor's chair. Behind the desk stands a bookshelf labeled "Congressional Surgery, Legislative Quackery" where a skull and a bottle of "Black Draught" are displayed. Contains three lines of dialogue below the image., Title from item., Date of publication supplied by Weitenkampf., Date of publication suggested by Reilly is 1860 as the content suggests that the cartoon was published following the proposed Crittenden and Douglas Compromises., RVCDC, Accessioned 1981., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[1866?]
Location
Library Company of Philadelphia | Print Department political cartoons - 1866 - 10aW [P.8698]
Two souls with but a single thought.
Title
Two souls with but a single thought
Description
Lantern slide formerly owned and probably used in art lessons by Philadelphia painter, photographer, and art teacher, Xanthus Smith of a racist depiction of African Americans in caricature by comic artist, Thomas Worth. Depicts a young and dapperly-dressed African American couple eating a piece of watermelon on a porch as the parents of one of the couple watches them from a doorway. Seated on a bench, the woman, wearing her hair tied up with a pink ribbon and attired in a blue shirt with buttons down the center, a white skirt with ruffles at the bottom, red and black checked stockings, and black shoes, sits beside the man, attired in a gray bowler hat, a white shirt with stripes, a gray waistcoat, gray and black striped pants, and black shoes. They hold a large slice of watermelon up together and bite from it while looking at one another. In the left, the mother, attired in a blue and pink plaid head kerchief, a pink and black striped shirt with a white lace collar, and a pink skirt, and the father, attired in a white collared shirt, a black waistcoat, and black pants, looks on at the couple from an open doorway. A banjo hangs from the post of the porch in the right. In the background, trees and the night sky is visible., Title from label on mount on verso., Gift of Edna Andrade, 1994., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[ca. 1890]
Location
Library Company of Philadelphia | Print Department Lantern Slides-Smith, Xanthus [P.9471]
Rapid transit in Southern Mississippi. [graphic].
Title
Rapid transit in Southern Mississippi
Description
Racist scene showing an African American family comprised of the parents and eleven children traveling in an open wagon pulled by two oxen. The parents, each holding a baby, sit on the cab as the older children stand in the bed of the wagon. A wood shack, with three small windows, a door, and dilapidated fencing stands in the background. Two African American women, each holding a baby, stand in front of the building. The women and girls wear cotton shirtwaists, skirts, or smock dresses, and kerchiefs or a wide-brimmed hat. The man and boys wear long-sleeved shirts, pants, and hats or caps., Date from copyright statement: Copyright 1895, by Strohmeyer & Wyman., Title from item., Title printed in six different languages, including French, German, and Spanish on verso., Gift of David Long., RVCDC, Description reviewed 2022., Access points revised 2022., In 1912 Keystone View Company purchased rights to some Underwood & Underwood negatives for use in educational sets, and in 1922 purchased the remaining stock of Underwood materials. Keystone remained in business until 1970.
Creator
Underwood & Underwood
Date
1895
Location
Library Company of Philadelphia | Print Department stereo - Underwood & Underwood - Portraits & Genre [P.2018.16.9]
Fifteenth amendment. Bringing his crop to town. [graphic] / Photographed by J. N. Wilson, nos. 143 Broughton and 21 Bull Sts., Savannah, Ga.
Title
Fifteenth amendment. Bringing his crop to town
Description
Racist, vignetted view showing an African American man, attired in worn clothes, hauling a loaded cart pulled by a thin, horned cow. The man, attired in a wide-brimmed hat, jacket, and pants, rides the cow. His right hand holds the reigns of the yoke and his left hand holds up a stick in a striking motion. A pile of thatch fills the cart. A bag of cotton rests atop of the thatch. Townscape is visible in the background. View racistly satirizes African American civil rights and the right to vote granted to African American men in 1870 by the Fifteenth Amendment., Title and series number printed on verso., Name of photographer printed on verso., Photographer inferred to also be publisher., Date inferred from style of mount and active dates of photographer., Printed on mount: Charleston & Vicinity., Orange mount with rounded corners., Gift of David Long., RVCDC, Description revised 2022., Access points revised 2022., Jerome N. Wilson (1827-1897), a New-York born photographer, relocated his photography business to Savannah Georgia in 1865. He produced multiple genres of photographs, including cartes de visite and stereographs. His studio was enlarged and improved in 1871.
Creator
Wilson, J. N.
Date
[ca. 1870]
Location
Library Company of Philadelphia | Print Department stereo - misc. photo. - Wilson [P.2018.16.11]
I'm a masher
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]
"De breddren and sisters will now relate dere experience."
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]
"I'm a farder"
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]
Practical illustration of the Virginia Constitution. [graphic]: White man the bottom rail.
Title
Practical illustration of the Virginia Constitution White man the bottom rail
Description
Cartoon promoting racist fears of the effects of equal rights for African Americans under Virginia's reconstructed constitution by portraying two captioned scenes where African Americans have power over white people. The first, a "Mixed School System," depicts a desegregated classroom in which a seated African American man teacher spanks a white boy as other students witness the punishment. The second scene, a "Negro Court and Jury," depicts an African American man attorney questioning a white woman witness in front of an integrated jury and audience including an African American spectator slumped over asleep in the front row of seats., Title from item., Date of publication inferred from content., Purchase 1969., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[1868]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1868 Pra [7814.F]
Smoke Day's standard Durham smoking tobacco
Title
Smoke Day's standard of the world Durham smoking tobacco
Description
Racist advertisement for J.R. Day and Brother smoking tobacco depicting a horse race between two African American men jockeys, portrayed in caricature. In the right, the jockey, attired in a blue and yellow cap and long-sleeved shirt, yellow pants, and riding boots, grimaces as he holds the reins to his white horse. The winning jockey, attired in a red and white striped cap and long-sleeved shirt, yellow pants, and riding boots, grasps the reins as his body lifts off of his brown horse. He screams, “Bound to win!” In the background, white men, all smoking pipes with "Day's Standard" tobacco, watch the race from a spectators' box behind a fence inscribed, "They all smoke it?" James R. Day left W.T. Blackwell & Co. in 1878 and applied for a patent for his smokeless tobacco in 1879., Title from item., Date inferred from operation of the advertised business., Text printed below image: Manufactured by Jas. R. Day, Late of the firm of W.T. Blackwell & Co. for J.R. Day & Bro, Durham, N.C., Gift of Carol Baldridge, 1997., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[ca. 1880]
Location
Library Company of Philadelphia | Print Department *GC - Advertisements [P.9525]
Uncle Tom's Cabin. On the Levee
Title
Uncle Tom's Cabin. On the Levee
Description
Racist scene derived from Stowe's popular abolitionist book, probably a theater advertisement for a minstrel production. Depicts enslaved African American men and women, portrayed in racist caricature with exaggerated facial features, having a hoedown on a levee. In the foreground, two women and two men dance facing the viewer. In the left, the woman, attired in a straw hat with a white ribbon tied over the hat and under her chin, a pink smock, a green skirt, black stockings, and black shoes, puts her right foot on its heel and raises her left arm up. Beside her the man, attired in a yellow collared shirt, red suspenders, gray and yellow checked pants, and brown shoes, steps back on his right leg as he raised his right arm up. Beside him, the woman, attired in a yellow headkerchief, a green collared shirt with red polka dots, a copper colored skirt with black polka dots, black stockings, and black shoes, holds her skirt with her right hand as her left hand touches her mouth. In the right, the man, attired in a yellow collared shirt with red stripes, white overalls, and black shoes, leans to the right with both hands in his pockets. Seated in the right, two men play banjos. More African American men and women, seated and standing, clap, sing, and raise their arms up. In the background are stacks of wooden crates, and the water is visible., Title from item., Date from copyright statement: Copyright 1899. Courier Litho. Co. Buffalo, N.Y., Purchase 1988., 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.
Date
1899
Location
Library Company of Philadelphia | Print Department **GC - Entertainment [P.9219]
A line shot - the recoil. [graphic] / Thos. Worth.
Title
A line shot - the recoil
Description
Comic print using racist stereotypes to satirize the gunmanship of African Americans. Shows an older African American couple, portrayed in racist caricature with exaggerated features and mannerisms, in the aftermath of the husband firing a shot in their backyard. Shows, in the left, the husband, attired in blue coat tails and striped pants, jumping a fence, his gun powder horn flying above his head, and his rifle and hunter's hat lying on the ground behind him. He is accompanied by his dogs, a bony brown dog climbing over the fence with him, and a pit-bull like dog who holds his owner's torn pants seat in his jaws as he prepares to follow him. In the right, his wife, attired in a yellow bonnet, a blue top, a red skirt, and white pantaloons, topples over in a wicker basket of laundry. Her shoes fly off her feet. The clothesline pole lands on her head as her bare-footed legs are knocked into the air. Pieces of clothing, including a gunshot white shirt with clothes pins at the shoulders fly about her. A log house with a chimney and a dog house are visible in the background. The Darktown series of over 100 prints was issued mid 1870s-1890s. Thomas Worth was the artist of several of the prints in the reported popular and profitable series., Title printed below image., Issued as part of the "Darktown" comics series., Date from copyright statement: Copyright 1881 By Currier & Ives, N. Y., Gift of David Maxey, 2015., RVCDC, Description revised 2021., Access points revised 2021.
Creator
Currier & Ives
Date
1881
Location
Library Company of Philadelphia | Print Department *GC - Genre - Line [P.2015.52.1]
The colored band. [graphic].
Title
The colored band
Description
Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting African American women and girl spectators reacting to a passing African American marching band. The figures are drawn with racist and caricatured features and mannerisms. Shows in the foreground, two girls and a younger and an older woman, running next to and toward the band, mimicking the band leader, and dancing. The girls and women are barefoot and wear shift dresses of either calf or ankle lengths. The older, running woman (in right) also wears a kerchief. The mimicking girl who stomps and raises her left arm in front of the band leader wears short-cropped hair and is attired in a dress with wornout sleeves (center). The young woman dancing (center) and the running girl (left) wear their hair full and wavy. In the center foreground, the band leader looks past the girl in front of him. He wears a mustache and is attired in a tall, round-top shako with plume and a uniform. The uniform has tassels at the shoulder and a decorative chest plate and pants with a vertical stripe on the outseam. He holds up a mace adorned with an eagle with his right hand. In the background, members of the marching band, attired in caps with plumes and uniforms, play tubas. A line of older African American boys and a girl walks ahead of the band. Two of the children look behind themselves toward the band, including a boy with a look of surprise. During the Civil War, African American brass bands were formed by white commanding officers to promote and increase recruitment of African American soldiers. Following the war, many of the ex-military musicians formed civilian bands associated with quasi-military drill teams, volunteer organizations, and social clubs., Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to be based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower left of original print: Copyright 1881. Mrs. R. Colburn, RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date
1887
Location
Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.1]
Monday morning or the tender passion. [graphic].
Title
Monday morning or the tender passion
Description
Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting an outdoor wash day. The figures are drawn with racist and caricatured features and mannerisms. Shows, in the background, in the right an African American woman bent over and with her hands in a wash tub. A basin and large ladle rest near the tub. Behind her, a sheet and stockings hang from a clothes line. In the left background, an African American woman, standing on the tops of her toes, pins a sheet to a clothesline. A wooden basket of laundry rests by her feet. A young African American girl with short hair peers at the woman hanging the wash from behind a hanging sheet. The women wear kerchiefs, shirtwaists with the sleeves rolled up, and long pleated skirts with aprons. Between the women, an African American man attired in a panama hat, a shirt, a cross tie, long jacket, and pants, stands, looking to the left and with his left hand on his hip, and holding a cane in his right hand. In the center foreground, two barefoot young African American boys face each other and dance. The boys are attired in long-sleeved blousy shirts and pants. One boy has his back to the viewer. The boy facing the viewer also wears a bucket hat. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn 1877., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date
1887
Location
Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.2]
The old and the new – “Nothin’ but niggers nohow.” [graphic].
Title
The old and the new – “Nothin’ but niggers nohow.”
Description
Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting an older African American woman watching and "judging" a young African American couple walking in a park. The figures are drawn with racist and caricatured features and mannerisms. Shows, in the right, the older woman, attired in a kerchief, coat, shawl, long skirt, and holding a wooden cane, and with a squinted expression looking toward the back of a fashionably-attired couple in the left. The man of the couple to the right of the woman looks down and at his companion whose back is to the viewer. She is attired in a cap, a long winter wrap, and a skirt with a short train. The man wears an imperial mustache and is attired in a cap and a long winter coat. The man and women walk on a path lined with trees and birds peck at the ground. In the far left background, a woman and child attired in winter wear and walking on the path are visible. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn 1881., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date
1887
Location
Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.3]
Street cries. [graphic].
Title
Street cries
Description
Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting a group of African American men and boy peddlers at the corner of a city street. The figures are drawn with racist and caricatured features and mannerisms. In the center, a milk peddler stands and hawks with a trumpet in his left hand and a canteen of milk, ladle, and pitcher in his right hand. The man is attired in a wide-brimmed hat, shirtsleeves, pants, and a long apron. To the left, another African American man peddler pushes a large cart of junk wares and looks down at a young African American child running from a dog. The man wears a rumpled top hat, torn shirtsleeves, a vest, and patched pants. The child wears a smock dress and their hat has fallen by the feet of the milk peddler. In the right, a newspaper boy hawks the papers under his right arm. He is attired in a soft-brimmed hat, jacket, and pants. In the far right, a man attired in a hat, a shirt with turned-up collar, a long jacket, and striped pants, holds a bell and has his left leg stepped up on a box. Cityscape, a white woman street vendor at a table, and a horse-drawn cart are visible in the background. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to be based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn 1870., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date
1887
Location
Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.5]
Effect of the Fifteenth Amendment. [graphic]: Indignant mother, "Cum in out of dat mud right straight! Fust ting you'll know you'll be took for Irish chil'en!"
Title
Effect of the Fifteenth Amendment Indignant mother, "Cum in out of dat mud right straight! Fust ting you'll know you'll be took for Irish chil'en!"
Description
Photographic reproduction of a drawing after a racist cartoon published in Harper's Bazar in 1871 alluding to the social and political tensions between Irish and African American people following passage of the right to vote amendment. Shows an African American woman, a broom in one hand, her other hand on her hip, at her front porch, watching her two sons playing in the dirt. The woman is portrayed in racist caricature and speaks in the vernacular. She has a rotund figure and is attired in a head kerchief, a button-down shirt, an ankle-length skirt, and an apron. Her children make a mud pie beside the porch and in front of a tall wooden fence. Another African American boy, attired in a broad-rimmed hat and slipper-like shoes too large for his feet, sits and balances himself on the fence. View also includes a dust pan, the edge of a bench, and a tall weed near the mother's feet., Title from item., Date inferred from similar cartoon published in Harper's Bazar, March 4, 1871., Purchased with the Davida T. Deutsch African American History Fund., RVCDC, Description revised 2021., Access points revised 2021.
Date
1871
Location
Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2015.29]
The Salt River gazette---extra, Wednesday, Oct. 9, 1867. [graphic]: The Great Negro Party--born, 1856--died Oct. 8, 1867.
Title
The Salt River gazette---extra, Wednesday, Oct. 9, 1867 The Great Negro Party--born, 1856--died Oct. 8, 1867
Description
Cartoon publicizing the death of the "Great Negro Party" (i.e., Republican Party) as a result of the defeat of several Republican candidates to Democrats in the Philadelphia local elections of 1867. Depicts a series of racist captioned vignettes and caricatures. Includes the head of an African American man above a coffin inscribed with the life and death dates of the party (1856-Oct. 8, 1867); “a Scene at the Broad St. League House” depicting a white man minister forced to perform an interracial marriage between a white woman and an African American man; and a scene entitled "The Work of Congress repudiated by the People" showing an African American man lounging and watching white men labor to pay their taxes. Also includes an African American man dandy commenting in the vernacular on his making electors sick "dis time"; and a scene titled "Statue to be erected in front of the Union League House" showing the sculpture of an older African American woman on a ragged horse. The African American dandy caricature originally appeared as an illustration titled "S.S. Sanford in One of his Great Delineations of Ethiopian Character" in "Our Day," an 1860 circular that advertised his Sanford Opera House. The statue caricature originally appeared in the "Original Comicalities" section of the June 1854 edition of "Graham's Magazine" and was titled "Woolly Equestrian Statue of the late Mrs. Joyce Heth." Mrs. Heth, an early attraction of P.T. Barnum from 1835 until 1836, claimed that she was over 100 years old and a nanny to George Washington., Title from item., Date inferred from content., Originally part of McAllister scrapbooks of views of Philadelphia and Pennsylvania views and political miscellany. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[1867]
Location
Library Company of Philadelphia | Print Department political cartoons - 1867-1W [5759.F; (2)1322.F.77]
[Incomplete set of racist playing card game Game of In Dixieland. No. 1118] [graphic].
Title
[Incomplete set of racist playing card game Game of In Dixieland. No. 1118]
Description
Incomplete collection of playing cards from the racist card game "Game of In Dixieland. No. 1118" issued by the Fireside Game Co. of Cincinnati, the subsidiary company established in 1896 by executives of the U.S. Playing Card Company. Advertised by the publisher as "life-like reproductions of characteristic sketches from the Sunny South," the captioned and lettered cards depict stereotyped and caricatured portraits and scenes of African American men, women, and children and African American southern life. The object of the game was to compile all the cards with the same letter into a book, with the winner holding the most books. Cards include: "A1. The Crossing Sweeper." Scene depicts an African American boy street sweeper on a street corner. He is attired in oversize jacket and pants. He also wears a cap and holds a broom. "A3. In Clover." Scene shows three young African American boys, attired in worn long-sleeve shirts and pants, seated on a log and eating quarters of a watermelon. The boy in the middle wears a bucket hat. Stacks of watermelon, including the remaining quarter of the one being eaten by the children rest at their feet. "A4. Picking Cotton." Scene shows an African American boy in a field of cotton, bent over, and picking a cotton boll. He wears a cap, long-sleeved shirt, and loose ankle-length pants. He is barefoot. Men picking cotton and a cart are visible in the background. "B2. Picking Up a Living." Portrait shows an African American girl holding a large satchel over her left shoulder. She wears a checkered, long-sleeved dress, and floppy hat. "B3 '"Jest A Restin’."' Portrait shows a young African American man seated on a crate next to a barrel and a second crate. He wears a domed cap; loose, long-sleeved jacket; cropped pants; and rolled-down boots., "D4. Heavily Laden." View shows two young African American girls, attired in ankle-length shift dresses, and aprons, and carrying buckets on their heads. Girl in left, balances the bucket on her head, and her apron contains a hole at the chest. The girl in the right holds the bucket on her head with her hands. They are bare foot and stand near the brick wall of a mill. "E1.A Georgia Charmer." Bust-length portrait shows an African American woman, slightly smiling, and her right hand resting on the side of her chin. She wears a light-colored blouse with slightly puff sleeves; a short-brimmed, straw hat; and bracelet. "F2. The Coquette." Full-length portrait shows a young African American woman, her hand on her hip, bare foot, and standing in front of the door to a log cabin. She wears a kerchief on her head, a shirtwaist, belt, and calf-length skirt. "F3 '"Look pleasant, please."' Reproduction of a drawn view shows an African American man taking a photograph of an African American woman, three African American children, and a dog on a beach. The women and children, attired in summer dresses and jumpers, sit and stand on a log and the photographer stands by a makeshift camera and removes the lens cap. The photographer wears a hat, overalls, and a long-sleeved shirt., "G2. A Genuine Brunette." Full-length portrait shows a very young African American girl, bare foot, attired in a shift dress, and seated on a step. She frowns slightly and she clasps her hands in her lap. "G4. Learning to Walk." View shows two, very young, African American girls, in blousy dresses, standing side by side on a sidewalk and in front of the brick wall of a building. "H3. The Virginia Pine Chopper." Full-length portrait shows an older African American man, with a white beard, seated on a stump, holding an ax over his left shoulder. He also has the handle of a tin pail over his left wrist and holds a walking stick in his right hand. He is posed in a dirt yard laden with sticks. Stacks of logs and a wooden fence are visible in the background."I2. A Mississippi Beauty." Half-length portrait shows a young African American woman, her left hand resting on the side of her chin. She looks slightly to the right and has a slight smile. Her hair is pulled back and somewhat teased at the crown. She wears a shirtwaist and checkered, apron dress., "J2. A Hidden Nest in the Bushes." View shows two African American boys seated on their knees in a field and eating slices of watermelon. They wear wide-brimmed caps, long sleeved shirts, and pants. Boy in right also wears a jacket. “J3. On the Wharf.” View shows an African American man and woman seated on the edge of a wharf. The man attired in a long-sleeved shirt, vest, pants, and cap, sits with his feet dangling over the edge. The woman attired in a shirtwaist, skirt, and cap sits with her feet on the wharf landing. Sailing vessels are visible in the background. "K3.'"Mos’ to de end ob de road."' Full-length portrait shows an older African American man, with a beard, seated on a chair, in front of a crumbling brick wall. He wears a worn jacket, vest, shirt, and pants. A hat with kindling rests at his bare feet. He holds a walking stick that he rests between his legs. "L3. Among the Virginia Pines." View shows a log cabin, in the distance, along a dirt road lined with dry underbrush and a few trees, some barren. A woman stands in the yard of the cabin. Fireside Card Co. was dissolved in 1908 and U.S. Playing Card Co. began to issue educational card games., Publication information from copies included in the World Web Playing Card Museum. Publication date inferred from copyright date included on box covers., Card letter printed in upper left corner., Copyright statement printed on 8 of the cards: Copyright ’96 by L.D. Baldwin., Gift of Jennifer Woods Rosner., Housed in phase box., Many stained and in poor condition., RVCDC, Description revised 2022., Access points revised 2022.
Creator
Fireside Game Co.
Date
[1897]
Location
Library Company of Philadelphia | Print Department albums [P.2019.47]
Saturday evening. [graphic].
Title
Saturday evening
Description
Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting an African American family returning from a market trip. The figures are drawn with racist and caricatured features and mannerisms. Shows in the left, a bare-footed, young boy, attired in a long-sleeved shirt, breeches, and suspenders, striding next to and looking up at this mother who carries a watermelon on her head. She smokes a pipe and walks with her hands on her hips. She is attired in a bonnet that covers much of her face, shift dress, and apron. Behind her, in the center of the image, the father of the family walks next to a black dog and with two large cabbages tucked into his arms. He slightly frowns and is attired in a short-brimmed hat, long-sleeved shirt, vest and pants. In the right, is an older son, who looks at the viewer. He carries a large basket of produce over his left arm. He is attired in a wide-brimmed hat, long-sleeved shirt, long apron, and pants. In the background, a wooden fence and the tops of trees are visible. Image also shows a white woman, wearing her long, light-colored hair down on her shoulders, and attired in a wide-brimmed hat, and long-sleeved, narrow silhouette dress with an overskirt walking between the fence and the family. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to be based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title from item. Title printed on mount and written on original print., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date
1887
Location
Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.4]
[Montage of caricatures satirizing Southern Democrats] [graphic].
Title
[ Montage of caricatures satirizing Southern Democrats]
Description
Includes six captioned vignettes critically satirizing Southern democrats, copperheads, Jefferson Davis, and Andrew Johnson. Shows Democrats represented as an overseer forcing "Black Republicans" depicted as fleeing enslaved African American men, women, and children to vote their "Ticket in the South"; white men soldiers loading a cannon representing "General Grant giving the Rebel Copperhead Democrats some more grape"; Jefferson Davis fleeing in his "wife's petticoats"; "Johnson on a "Bender," after the Impeachment Trials; a skull and cross bones to symbolize that "Copperheads and Rebel Democrats are Poison"; and Johnson attired in torn and worn clothes and carrying a sack on his back as he is "Travelling for Tennessee." Several of caricatures also used as Civil War envelope designs., Title supplied by cataloger., Date inferred from content., Created postfreeze., Originally part of a McAllister scrapbook of Civil War miscellanies. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[ca. 1868]
Location
Library Company of Philadelphia | Print Department political cartoons [ca. 1868] - Mon [(2)5786.F.176a]
[Scrapbook with periodical illustrations, comic valentines, and patent medicine advertisements]
Title
[Scrapbook with periodical illustrations, comic valentines, and patent medicine advertisements]
Description
Eccentrically-arranged scrapbook predominantly containing newspaper clippings, patent medicine almanac advertisements, and comic valentines. Also contains scraps, trade cards, and labels. Clippings, many published in the sensational periodicals “National Police Gazette” and “Days’ Doings” primarily depict illustrations of murders and violence, crimes and punishments, human curiosities, animal attacks, human peril, women in distress, gender non-conforming people, evocative theatrical performances, acts of daring, and comic scenes in silhouette. Illustrations include H. P. Peer's 1879 jump from the Niagara Falls bridge and a fight between the elephant "Bolivar" and a camel in Van Amburgh's menagerie. Patent medicine advertisements primarily promote the products of Barker’s Horse, Cattle, and Poultry Powder; C. I. Hood’s Sarsaparilla; Dr. Morse’s Indian Root Pill; and E. S. Well's Rough on Rats. Valentines satirize various professions and gender and ethnic stereotypes, including a cook, music teacher, machinist, hatter, seamstress, “French nurse –(from Ireland),” “novel reader,” “prudish young woman,” and “an old bore.”, Also contains some sentimental and genre imagery, including mothers and children, children playing, and pets; landscape and cityscape illustrations; racist caricatures of African Americans; Tobin trade cards depicting comical views of baseball players (p. 21); an advertisement for The Electric Era/ German Electric Belt Agency (Brooklyn, N.Y.); Dalziel Brother illustrations of scenes from popular Charles Dickens novels like “Nicholas Nickleby”; chromoxylograph illustration from Aunt Matilda series “The Little Deserter” (McLoughlin Bros., ca. 1869); illustrated children's book covers; and a finely-designed chromolithographic advertisement depicting allegorical figures, flowers, and produce to promote gardens (Lowell, Mass.)., Title supplied by cataloger., Small number of pages contain hand-coloring., Also originally included tucked-in partial editions of N.Y. newspapers issued in 1890. Issues housed in mylar and with scrapbook., Scrap depicting two racing horses and their jockeys pasted on back cover., Housed in phase box., Purchase 2012., RVCDC, Description revised 2021., Access points revised 2021.
Date
[ca. 1869-ca. 1890, bulk 1880-1890]
Location
Library Company of Philadelphia | Print Department *albums (flat) [P.2012.42]
The great November contest. Patriotism vs bummerism. [graphic]
Title
The great November contest. Patriotism vs bummerism
Description
Racist cartoon depicting the 1868 Presidential Election as a carriage race between the "patriotic" Democrats and the "bum" Republicans who support Reconstruction. Depicts the elegant Democratic carriage with the banner "This is a White Man's Government" pulled by the horses with the heads of Horatio Seymour and Francis P. Blair racing passed the stalled Republican wagon steered by the asses with the heads of nominees Ulysses Grant and Schuyler Colfax. In the Democrats' carriage are four allegorical figures: Liberty, depicted as a white woman holding the Constitution and a banner which reads "Our Glorious Union Distinct, like the Billows, One, Like the Sea' This is a White Man's Government!"; Navigation, depicted as a white woman holding a miniature ship; Agriculture, depicted as a white woman holding sheaves of wheat and a scythe; and Labor, represented by a bearded white man with a hammer and flywheel. The Republican wagon passengers include radical Thaddeus Stevens, the grim reaper, and an African American man and woman couple, portrayed in racist caricature and speaking in the vernacular. Massachusetts Republican representative Benjamin F. Butler tries to push the stalled wagon passed the bones of those who paid "The Price of Nigger Freedom" and the rocks of "Ruined Commerce," "Debt," and "Negro Supremacy.", In the background, a cheering crowd brandishing American flags near the U.S. Capitol await the winning Seymour and Blair while on the building's other side a group of African American men dance. In the left foreground, Henry Ward Beecher and Horace Greeley play a shellgame looking for Grant and an African American man and woman, attired in torn and worn clothes, discuss another man returning to his former enslaver. In the right foreground, an African American man sits behind a table labeled, "Pompey Smash, Salt River Line Ticket Agent" and sells tickets to "Salt River" (i.e., political disaster) to a white man with a bag labeled, "J.G.B. Boston Carpet Bagger." Behind them, two African American men and a drunken white man holding a bottle talk about the Republican wagon., Title from item., Date from copyright statement: Entered according to an Act of Congress in the year 1868 by Bromley & Co. in the Clerk's Office of the District Court of the U.S. for the southern District of New York., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
1868
Location
Library Company of Philadelphia | Print Department *Political Cartoons - 1868-15 [5760.F.125]
[Series of Clarence E. Brooks & Co. Fine Coach Varnishes, cor. West & West 12th St. N.Y. racist 1880 calendar illustrations after the "Blackville" series] [graphic].
Title
[Series of Clarence E. Brooks & Co. Fine Coach Varnishes, cor. West & West 12th St. N.Y. racist 1880 calendar illustrations after the "Blackville" series]
Description
Series of twelve captioned illustrations from the Clarence Brooks & Co. Fine Coach Varnishes 1880 calendar portraying scenes after the racist “Blackville” series drawn by Sol Eytinge for “Harper’s Weekly” in the 1870s and depicting caricatures satirizing the social mores, customs, and daily lives of African Americans of all classes. The figures are portrayed with exaggerated features and mannerisms. The attire of the figures includes long-sleeved dresses, shirtwaists and skirts, smocks, shirt, pants, jackets, and caps, and hats. Some of the attire depicted, particularly for younger figures, is worn and/or tattered. Includes scenes from the Eytinge Blackville series within a series - “the twins” (March, May, September illustrations). Scenes are titled (sometimes with text in the vernacular) and depict “The First Ulster in Blackville” (January) of a winter scene showing African American children, attired in shirts, pants, or skirts and hats or bonnets, paused from a snowball fight as an African American man in a blue ulster (an overcoat with hood), holding a cane, and smoking walks between them; “Christmas Dinner Done!” (February) showing an older African American man, attired in an overcoat, pants, and hat, and African American boy, attired in a shirt, pants, and a hat with a scarf tied around his head and chin, in a field, and watching a rabbit run away from a trap held by the boy; “Love in Blackville. The Wooing of the Twins” (March) showing African American women twins, each being courted by an African American man within an open room that has a stove and mantle as their older African American parents “watch” from a doorway;, "April-Fools Day-An Aggravated Case (April) showing an older African American woman, with an upset expression, standing in front of a row of cabins and near a basket of cabbages on a town block, and holding a dead rat within a cabbage as she is watched by two snickering African American boys, the practical jokers, standing within the opening to an alley; "The Great Social Event at Blackville. The Wed"ding of the Twins" (May) showing two African American women twin brides and their grooms within a parlor, near a table of food, being married by a reverend in front of friends and family of all ages; "The Coaching Season in Blackville._ The Grand Start" (June) showing an African American driver pulling at the reins of an unruly four-mule team coach of which African American passengers of all ages sit in and on the cab as African American towns folk wave from a line of cabins in the background and an African American boy and dog run past the wheel of the vehicle; "The 'Fourth' in Blackville" (July) showing a fenced paddock in which an African American boy holds an American flag in one hand and a gun in the other by a group of African American children and a woman who run, cover their eyes, jump the fence, and shield each other under the sight of an African American man in the window of an adjacent cabin; “Hi Abe Come Under De Brellar! Does Your Want to Sunstruck Yerself! De Fremoniter’s Gone Up Moren a Foot!” (August) showing a group of African American children of different ages, under a torn umbrella held by the tallest child, a girl, and approaching a young African American boy, “Abe,” within a fenced yard with a pond and patches of greenery and across from a cabin in which an African American man and woman, stand and sit in the doorway;, “After Doing Paris and the Rest of Europe, The Bridal Party Return to Blackville" (September) showing “the twins” on promenade with their husbands and an African American women caregiver holding their two babies as they walk on a dirt path lined by African American townsfolks of all ages who stare and also include an older woman who laughs behind a tree; "Who Struck De Futest?” (October) showing an older African American man, seated outside a cabin, and holding up a switch to two African American boys, in worn clothing, standing within the yard, near a broken object, and across from an African American girl in the cabin doorway and three boys seated and looking over a fence lining the property in the background; The “Small Breeds” Thanksgiving-Return of the First-Born from College 'Bress His Heart! Don’t he look edgecated?' ”(November) showing a young African American man portrayed in disheveled attire and manner as though drunk entering the door to his family, including a grandmother figure and a child in a high chair, at dinner around a cloth-covered table; and “No Small Breed Per Yer Uncle Abe Dis Chris'mas! Ain’t He a Cherub?” (December) showing “Uncle Abe,” an African American man holding a large, plucked turkey (with head and feet) near his chest and on a table surrounded by older women and child-aged family members who stand near a chest of drawers, a stool, and two windows with curtains visible in the background. Exterior scenes also often include a dog or cat, or a cabin or cabins, the latter marked “Clarence Brooks & Co. Fine Coach Varnishes. Cor. West & West 12th St. N.Y.” in the background; as well as fencing, groves of trees, and dirt paths. Interior scenes often include a dining table, chairs, displays of food and household items, such as a candlestick and framed prints advertising Clarence Brooks & Co. April-Fools Day image includes a cobble-stone street., Clarence Brooks established his varnish business in 1859 as Brooks and Fitzgerald, later Clarence Brooks & Co. In the early 1880s the firm issued calendars illustrated with African American caricatures in genre scenes, often after Sol Eytinge Harper’s Weekly illustrations., Title supplied by cataloger., Publication information inferred from image content and similar material issued by Clarence Brooks & Co. during the early 1880s., Two of the series contains ornamented borders (P.2022.8.2 & 4)., All of the prints inscribed in pencil on the verso with the name of a month, some abbreviated, between January and December., Image for “The First Ulster in Blackville” (P.2022.8.1) originally published in Harpers Weekly, March 18, 1876., Image for “Love in Blackville. The Wooing of the Twins” (P.2022.8.3) originally published in Harpers Weekly, May 11, 1878., Image for The Great Social Event at Blackville. The Wedding of the Twins (P.2022.8.5) originally published in Harpers Weekly, July 13, 1878., Image for “The Coaching Season in Blackville._ The Grand Start” (P.2022.8.6) originally published in Harpers Weekly, September 28, 1878., Image for “The ‘Fourth’ in Blackville” (P.2022.8.7) originally published in Harpers Weekly, July 14, 1877., Image for “After Doing Paris and the Rest of Europe, The Bridal Party Return to Blackville” (P.2022.8.9) originally published in Harpers Weekly, October 26, 1878., Image for “Who Struck de Futest” (P.2022.8.10) originally published in Harpers Weekly, June 13, 1874., Image for “No Small Breed fer yer Uncle Abe….” (P.2022.8.12) originally published in Harpers Weekly, January 1, 1876., Purchased with funds for the Visual Culture Program., RVCDC
Date
[1879]
Location
Library Company of Philadelphia | Print Department *ephemera - calendars - C [P.2022.8.1-12]