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Title: "No higher law."
Description: Antislavery print denouncing the immorality of the Fugitive Slave Law by exploiting abolitionist Senator William H. Seward's famous quote that "a higher law" than the Constitution should exist regarding slavery. Shows "King Slavery," depicted as a bearded, bare-chested, white man, attired in a crown made of finger bones and armed with pistols in his waistband. The King sits and leans upon the arm of his throne composed of the "Fugitive Slave Bill," the Bible, and human skulls as he defiantly holds a whip of chains above his head. An American flag on a pole billows behind the throne. Below the throne, Seward, depicted as a priest, looks up and raises his left hand toward the King. He stands before a cat-faced altar inscribed "Sacred to Slavery," which rests upon a book of "Law" and pours oil from a container onto the altar fire, generating clouds of smoke. In the right, three enslaved men squat with their heads bowed. Senator Daniel Webster gestures toward them and holds a paper supporting the Fugitive Slave Bill "to the fullest extent." Near them, "Freedom," depicted as a bearded, white man and attired in a robe, displays his sense of defeat by removing his crown and lowering his liberty pole. In the left, an African American man freedom seeker fends off dogs attacking him. An African American woman freedom seeker and two children flee from two white men mercenaries on horseback and run toward a white woman with outstretched arms in front of a house. In the right background, the figure of Liberty falls from her pedestal., Title from item., Place of publication inferred from the residence of the distributor., Weitenkampf suggests date of publication as 1851., Text printed on recto: Price $3 A Hundred And Six Cents Single Copy., William Harned was an abolitionist printer in New York who also published the pamphlet, "The Fugitive Slave Bill:...." in 1850. (LCP Am 1850 Fug 16809.D.1)., A.B. Maurice and F.T. Cooper's The History of the 19th century in caricature (New York: Dodd, Mead, and Company, 1904), p. 156., Lib. Company. Annual Report, 2000, p. 40-2., Purchase 1999., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [1851]
Location: Library Company of Philadelphia | Print Department political cartoons - 1851 - 2W [P.9739]

Title: Practical illustration of the fugitive slave law
Description: Antislavery print depicting a fight between Northern abolitionists and supporters of the Fugitive Slave Law of 1850. In the left, abolitionist William Lloyd Garrison and an African American man both raise guns to protect an enslaved African American woman who is attired in a head kerchief, earrings, a short-sleeved dress, and shoes. She raises both arms in the air and clutches a handkerchief in her right hand and exclaims “Oh Massa Garrison protect me!!!” Garrison wraps his right arm around her and says, “Don’t be alarmed, Susanna, you’re safe enough.” In the right, the white man mercenary, attired in a top hat with a star on it, who may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend freedom seekers, carries a noose and shackles. He sits astride Secretary of State Daniel Webster, who is on his hands and knees clutching the Constitution and bemoaning, "This, though constitutional, is extremely disagreeable." Behind them a white man, possibly John C. Calhoun, declares "We will give these fellows a touch of Old South Carolina" and carries two volumes labeled "Law and Gospel." Another white man carries a quill and ledger and says "I goes in for Law & Order." In the background, a number of men on both sides fight. A white man lies on the ground on his back. An African American man grabs a white man enslaver by the head and holds a whip while saying “It’s my turn now Old Slave Driver.” A "Temple of Liberty" stands in the background with two flags flying which read, "A day, an hour, of virtuous Liberty is worth an age of Servitude," and "All men are created free and equal.", Title from item., Probable place and date of publication supplied by Reilly., Weitenkampf attributed this cartoon to the New York artist Edward Williams Clay, but Reilly refutes this attribution on the grounds that the draftsmanship, signature, and political opinions are atypical of Clay., 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: [1850 or 1851]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1851-6 [5760.F.104]

Title: A grand slave hunt, or trial of speed for the presidency, between celebrated nags Black Dan, Lewis Cass, and Haynau
Description: Cartoon criticizing presidential candidates Daniel Webster (i.e., Black Dan) and Lewis Cass's avid support for the enforcement of the Fugitive Slave Law during the election of 1852. Shows Webster, carrying a copy of the Fugitive Slave Law and a flag, leading a group of white men, including the lagging Michigan Senator Lewis Cass; the infamously cruel Hungarian General Baron Haynau with a pitcher of "Barclay Best" on his head (a symbolic reference to the brewery workers who attacked him in England); and President Millard Fillmore holding a Fugitive Slave Bill. They pursue an enslaved African American woman who runs clutching a baby in her arms and holding the hand of her young son. Additional figures in the background include Horace Mann, Massachusetts Congressman and opponent of the Compromise of 1850; an orator resembling Webster bombasting Mann before a group of kneeling white men admirers; a preaching white man minister with Bible in hand; and an African American woman freedom seeker with her child being tugged between a yelling man and a white man mercenary carrying handcuffs., Title from item., Date of publication supplied by Weitenkampf., Purchase 1967., 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: [1852]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1852-7W [P.9676]

Title: Life in New York
Description: Collection of primarily racist social caricatures lampooning the etiquette and conventions of early 19th-century, middle-class New Yorkers, particularly the growing community of free African American persons. Eliciting the heightened racism in the antebellum North, the African American men, women, and children characters are depicted with exaggerated features, wearing boldly-patterned and colored clothes, and speaking in a vernacular to be portrayed and denigrated as illegitimate elite society. Caricatures also address “rules” of courtship, fashion, classism, and a dance lesson. Some caricatures also represent the sexism and ethnic divisions of the era., Influenced by the "Life in Philadelphia" series of 1828-1830, the series consists of at least eight prints published around 1830 by eminent New York lithographer Anthony Imbert. Although often attributed to Edward W. Clay, the different styles of the caricatures imply that the prints were executed by various artists employed by Imbert. The African American caricature, "A Five Points Exclusive," a lithograph published in the early 1830s by John Pendleton, an associate of Imbert, has been included as a part of the series., Serie title from items., Dates inferred from content and names of publishers., Original series contained at least eight prints., LCP holds four of the series. Three are first editions., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 93-95. (LCP Print Room Yz, A423.O), Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022.
Date: 1830-ca. 1834, bulk 1830
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set)

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: A five points exclusive taking the first steps towards the Last Polish
Description: Racist caricature depicting a group of middle-class African American women receiving a dance lesson at the "Bon Enfantfile Cross St. Saloon." Shows the four women in a semi-circle, looking at the white dance instructor, “Mr. Boeyfong,” in the right and one woman, in the center, looking at the viewer. Two of the women slightly pull up their skirts, one has her heels together and the other points her right foot. The women wear their hair in top knots, and all but one also wear hair adornments. Three are attired in off the shoulder puffed-sleeved dresses and one woman wears a blue dress with a collar. They all wear jewelry, including earrings and necklaces, as well as ankle-laced shoes and a red ribbon on one leg and a blue ribbon on the other, the latter to aid in the lesson. In the right, “Mr. Boeyfong” stands with his left foot pointed out and holding a violin in one hand and the corresponding bow down toward the foot of the woman across from him. He instructs the pupil to "hold in ze stomach and stick out behind!" He has sideburns and wears his dark hair styled out to the sides. He is attired in a white ruffled shirt, a vest with a floral pattern, a cravat with a floral pattern, a black waistcoat, blue pantaloons, white stockings, and slip on shoes adorned with ribbons. Behind them is a sign with the "Regulations" of the "Saloon" which state that the women must wear the ribbons to distinguish their right foot from their left; they must not come undressed; and they may not have more than ten partners at one time. The women figures are portrayed with oversized features and their skin tone is depicted in brown hand coloring. The man figure is portrayed with muscular physical features and small feet., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular above the image: Allons Mademoiselle raise ze leg wis ze red ribbon so bring him to ze ozer leg wis de blue ribbon, hold up ze head, elevate ze bosom, hold in ze stomach and stick out behind! tres bien ver well-/Now Mr. Boeyfong is dat ‘ere step right?, Contains a caption below the image, a quote from Shakespeare's "Hamlet":” A station like the herald Mercury. New lighted on a heaven kissing hill. -Shakespeare., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9187]

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

Title: Political caricature no.3. The abolition catastrophe, or the November smash-up
Description: Title from item., Date from copyright statement: Entered according to act of Congress in the year 1864 by Bromley & Co. New York in the Clerk's office of the District Court of the United States for the Southern District of New York., Text printed on recto: Single Copies sent pr. mail post paid 25 cts; 5 Copies $1.00; 50 express $9.00; 100 $16.00. Express charges paid by purchaser. Address: Bromley & Co., Box 4265 New York City. Write your address: Post Office, County and State plainly., Third in a series of four., McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Cartoon criticizing the Republican's self-destructive support of abolitionism during the presidential election of 1864 depicting the "Union" train of Democrats steaming toward the White House passing the wrecked Republican train. Candidate George McClellan engineers the smooth running Democratic train powered by "Democracy" and adorned with the flag "Constitution." Several of the passengers including Horatio Seymour praise McClellan as others mock the Republican Party's demise. The Republican train has crashed into several rocks symbolic of the war including "Abolitionism," "Confiscation," and "Emancipation." The crash ejects Abraham Lincoln. Several African Americans, who are depicted in racist caricature and speak in the vernacular, are crushed and maimed. Tossed and injured prominent Republican passengers include Edwin Stanton; Horace Greeley; Henry Ward Beecher who holds an African American baby; Charles Sumner; William Seward; John McKeon; Benjamin Butler and Thurlow Weed; many of whom pray for help. "John Bull," Emperor Maximilian of Mexico, and France's Napoleon III observe and comment on the crash's effect on the puppet empire of Mexico. Another observer, recently resigned Secretary Salmon P. Chase, expresses relief that he left the Republican train in the "nick of time."
Date: 1864
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1864-39R [5793.F.2]

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