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Title: Our relations at home and abroad.
Description: Stephen's album drolleries no. 1., Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War. First nine cards show the British "surly lion" giving a "generous roar," (i.e., the recognition by Great Britain of the Confederacy); which "temporarily astonishes" the "Gallic Cock"; who eventually overpowers the lion; who later weeps "is he not a bird and brother" for a crow, (i.e. a slave of the South) at Exter Hall; "which he forgets in the embrace of the "Belligerent Wolf of the C.S.A." while stepping on the crow; which leads to his "arming of the wolf"; while the Mexican vulture is garroted by the Gallic cock (i.e., French intervention in Mexico); causing the lion to protect his rams with the introduction of the "Swamp Angel" and Greek fire,( i.e. the bombing of Charleston) by the American eagle; which causes the "grand combat" between the eagle and the wolf. Last three cards predict "to consult history" to see the Union victory of the eagle over the wolf; the eagle vindicating the Monroe Doctrine in Mexico by overthrowing the Gallic cock; and the little child Liberty leading the supplicant British lion and Gallic cock., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55a-l]

Title: Exeter Hall. The Lion weeps: "Is he not a bird and a brother?" [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the lion who weeps "is he not a bird and brother" for a crow, (i.e. a slave of the South) at Exter Hall. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55i]

Title: Grand tableau of the future. The little child, Liberty, shall lead them. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the little child Liberty leading the supplicant British lion and Gallic cock. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55a]

Title: For the precise period at which this occurred, consult history. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the victory of the eagle over the wolf. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55c]

Title: The Eagle vindicates the Monroe Doctrine in Mexico. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the eagle vindicating the Monroe Doctrine in Mexico by overthrowing the Gallic cock. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55b]

Title: Introduction of Master Swamp Angel: the Lion pockets his Rams. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the lion protecting his rams with the introduction of the "Swamp Angel" and Greek fire, ( i.e. the bombing of Charleston) by the American eagle. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55e]

Title: Grand combat between the Eagle and the Wolf. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the eagle and the wolf fighting. The lion hangs out of a window above the fight scene, near the words "police ; murder". Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55d]

Title: The arming of the Wolf by his faithful squire. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the lion arming the wolf. The wolf stands with one foot on the lap of the lion, who is fixing his boots. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55g]

Title: Which temporarily astonished even the Gallic Cock. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the British lion roaring and astonishing the Gallic cock. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55k]

Title: Who responded with warlike vigor when the Lion caved. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the Gallic cock overpowering the British lion. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55j]

Title: The Mexican Vulture garroted by the Gallic Cock. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., The Gallic cock is strangling the Mexican vulture and has his knife raised, about to stab him in this scene (i.e., French intervention in Mexico). Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55f]

Title: On England's muggy shore a surly lion gave a grievous roar! [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the British lion roaring from the coast of England, with the "Trent" (RMS Trent of the Trent Affair) steamship afloat in the background. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55l]

Title: Which he forgets in the embrace of the belligerent Wolf of the C.S.A. [graphic]
Description: Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Originally part of a McAllister scrapbook of humorous caricatures and photographs., Depicts the lion and the wolf shaking hands, and stepping on the crow. Forms part of a collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War., 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.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer., creator, Stephens, H. L. (Henry Louis), 1824-1882 artist., creator
Date: c1863.
Location: Library Company of Philadelphia Print Dept. Henry Lewis Stephens Collection [5780.F.55h]

Title: [Satiric stereograph showing an African American dandy receiving a shoe shine from a white shoe shine boy]
Description: Stereograph, possibly published in London, depicting a scene satirizing race relations in America. Shows the dandy standing and with one foot on the boy's shoe shine box in front of a back drop depicted as a wall adorned with broadsides referencing abolition, slavery, and emancipation. The dandy is attired in striped and checkered pants, a jacket with tails, a ruffled shirt, and top hat. He holds a walking stick under one arm and a cigarette in his other hand. The boy kneels and shines the dandy's shoes with his shining supplies and tools by his box. Broadsides include a "playbill" reading "Adelphi. Tonight The White Slave. Octoroon Farce" and an advertisement for "Fast Clipper. Clyde. For New Orleans." Other posts read "No Slavery. Freedom" and "Great Meeting. Negro Emancipation. Poor Slaves.", Place of publication and date inferred from image content containing a reference to the "Octoroon" at the "Adelphi." Adelphi is a London theater where The Octoroon was performed 1861-1862., Grey mount with square corners., Purchased with the Davida T. Deutsch African American History Fund., See similar visual trope "I say Billy, do you know why I'm doing this? Cause, I'm going to run for Congress soon!" [Political cartoons - 1863-13W, 8033.F.3]
Date: [ca. 1862]
Location: Library Company of Philadelphia | Print Department stereo - unid. photo - Genre - African [P.2014.29]

Title: The Temptation of St. Anthony
Description: Sign advertising Paul Jones & Co., which made bourbon. At the bottom left, "The F. Tuchfarber Co., man'f'r's Cin. O. 1901." On the back, "Do Not Hang Near Stove. Wash With Cold Water.", Depicts an African American woman with a slice of watermelon and an African American man holding a jug. On the bottom right is a crate labeled Paul Jones & Co., Gift of Robert Petrilla, 1994.
Creator: Paul Jones & Co., Louisville, KY
Date: 1901
Location: OBJ 850

Title: Abolitionist
Description: A man, one half of his body shown as a white man and the other half as an African American man, lectures in front of a small table. He holds an umbrella with his African American hand, as well as wears no shoe on his African American foot., Text: Whew! don't you know that you're played out? That your occupation's gone? Why do you make such fuss about that poor old well-pick'd bone? Or are you lost, so far corrupted, You can't improve 'till re-constructed?
Date: ca. 1865-1866

Title: Jeff. Davis The last ditch "Bless my stars if dere aint Massa Jeff Davis in de las' ditch at last
Description: Caricature of Jefferson Davis., Printed area, including border, measures 20.9 x 11.3 cm., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Date: [1865?]
Location: Library Company of Philadelphia | Books & Other Texts | Rare sm # Am 1865 Jeff 5795.F.13a (McAllister)

Title: [Abraham Lincoln caricature satirizing the draft]
Description: Photographic reproduction of a racist caricature satirizing the forced conscription of the poor and immigrant classes unable to pay for substitutes during the Civil War. Shows Abraham Lincoln feeding a bottle of the "Black Draft" to a haggard looking man who sits with his feet in a tub. The bottle of "Black Draft" contains figures of African Americans., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln.
Date: ca. 1863
Location: Library Company of Philadelphia | Print Department cdv - miscellaneous - Civil War - Bispham - Caricatures and cartoon [5792.F.4g]

Title: "The coon" wedding march
Description: Scene showing a young African American girl in a white dress leading the procession of the young African American couple and their attendents. The bride, holds fake flowers and wears a calico shirt, white skirt, and thick cloth veil. Small picture prints and placards written in black dialect adorn the walls., Inscribed on negative: 16974., Copyright by William H. Rau., Stamped on mount: Philadelphia, St. Louis, and Liverpool, Eng. American and Foreign Views., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Rau, William Herman, 1855-1920, photographer
Date: c1897
Location: Library Company of Philadelphia | Print Department stereo - Rau - Genre [P.9921]

Title: The darktown fire brigade - saved!
Description: Comic print using racist imagery to satirize African American men firefighters. Shows a brigade of eight African American firefighters during a rescue of an African American family from a burning wooden house. Flames and smoke extend from the right side of the roof of a two-story residence. In the center foreground, two firefighters, one not wearing a helmet, hold open a striped blanket. A woman attired in a white nightgown and holding her gown down with one hand and a fan with the other is midair and about to drop, feet first, into it. In the left, another firefighter runs out of the doorway of the building and with a woman over his shoulder. She wears a white cap and night gown. In the right, a fourth firefighter sprays water from a hose into the body of a man in a white nightshirt stuck in a hole in the roof. His head and chest poke through the hole and his legs project out through an upper floor window. The firefighter uses a hose that extends from a fire engine marked "Niagara."It is being pumped by four other firefighters in the right background. The firefighters stand on barrels and push the lever of the water pump on the engine. In the far right distance, another firefighter attends to a donkey. The firefighters are attired in red shirts, blue pants, and black boots. Four men wear helmets, one man wears a top hat, and two men are bare-headed. The men and women figures are portrayed with wide eyes and lips, and large feet. The rescued family members are bare foot. The Darktown series of over 100 prints was originally issued mid 1870s-1890s. Thomas Worth was the artist of several of the prints in the reported popular and profitable series. Joseph Koehler reissued the prints in the early 1900s., Title from item., Reprint of number from "Darktown" comics series originally published in 1884. Joseph Koehler purchased over 200 lithographic stones, including the "Darktown" series, from the Currier & Ives firm following its dissolution in 1907., Contains copyright statement: Copyright 1884, By Currier & Ives, N. Y.
Creator: Currier & Ives
Date: [ca. 1907]
Location: Library Company of Philadelphia | Print Department *GC - Genre - Darktown [P.2019.55.4]

Title: " Does you love me hun?"
Description: Racist stereograph of an outdoor caricatured, genre scene showing an African American man woman couple seated together on a tree swing in a clearing in the woods. The woman sits on the lap of the man. Her left leg dangles. Her right cheek rests against his left one. She smiles and looks out. His eyes are turned toward hers. The woman wears a patterned, dark-colored shirtwaist, a floral-patterned skirt, dark stockings, and boots. He wears a suit. Scene also includes leaves on the ground and trees and bushes in the background., Date from copyright statement: Copyright 1898, by R. Y. Young., Title from item., Curved buff mount with rounded corners., Gift of David Long., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Universal Stereoscopic View Company
Date: 1898
Location: Library Company of Philadelphia | Print Department stereo - misc. photo - Universal [P.2018.16.7]

Title: Abolitionist Philanthropist.
Description: The valentine depicts a well-dressed white man gesturing to a seated African American man whose head, feet, and buttocks are disproportionately large. The "burs" suggest the seated man does field work, and his trousers are ragged., Text: O, massa Abolitionist! you're mighty fond of jokes, / And play em on de darkey as well as on white folks / But all your mighty promises dey neber come to pass, / And every we take your chair de burs stick in / our ---- trouserloons., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [not after 1865]

Title: [Set of six African American caricature trade cards advertising Franz Aman, wine, liquor, and lager beer saloon, no. 727 North Second Street, Philadelphia]
Description: Set of racist trade cards, some captioned, depicting African American male and female caricatures and stereotypes. Figures portrayed with malproportioned facial features. Captioned cards include "A New Coon in Town" showing an African American dandy, with a cigarette in his mouth, and attired in a grey bowler, purple jacket with flower boutonnière, red stiff-collared shirt, blue checkered pants, and red socks accessorized with yellow gloves, a monocle, and an umbrella; "Bones" showing an African American minstrel performer, attired in a ruffled clown collared shirt and red jacket with tails while playing sticks above his head and side kicking; and "Did you see me" showing a comic African American male figure, holding his bowler in the air and with one foot extended toward the viewer ("Did you see me" written on the sole of his foot). Uncaptioned cards depict an African American minstrel figure, attired in a ruffled collared shirt, seated, and holding a tambourine on his knee (probably originally captioned 'I don't do this for a livin"); an older African American woman, attired in a bonnet, shawl, and apron, resembling a cook and smoking a pipe (probably originally captioned "Just like the old me"); and a curvaceous African American woman attired in a red hat, square neck, knee-length dress, sash, and red stockings while side stepping. Cards advertise the saloon operated by Franz Aman at the address listed 1886-1888, a period when "Coon" songs were a fad. The "Bones" and "Tambourine" figures were often a part of the standard first act of a three-act minstrel performance, Title supplied by cataloger., Two of the six cards contain slightly legible captions printed over with gold ink.
Date: [ca. 1886]
Location: Library Company of Philadelphia | Print Department trade cards - Aman [P.2014.26.1]

Title: The negro on the brain
Description: Photographic reproduction of a racist woodcut caricature showing Abraham Lincoln wearing a naked African American shaped as a stovepipe hat. Contains photographic reproduction of several lines of verse in English and German on verso: A goodly difference does exist; Among the party that did call; There is among them many a [one?]; Conservative and true at heart; But there are others [who insist?]; The white man's freedom would deny; To place them on an equal footing; No matter what the cost may be; Something is for the negro done; The negro on the brain., Title from item., Date inferred from content., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [ca. 1863]
Location: Library Company of Philadelphia | Print Department cdv - misc. - Civil War - Caricatures and cartoons [5792.F.1a]

Title: The negro on the brain
Description: Photographic reproduction of a racist woodcut caricature showing Abraham Lincoln wearing a naked African American shaped as a stovepipe hat. Contains photographic reproduction of several lines of verse in English and German on verso: A goodly difference does exist; Among the party that did call; There is among them many a [one?]; Conservative and true at heart; But there are others [who insist?]; The white man's freedom would deny; To place them on an equal footing; No matter what the cost may be; Something is for the negro done; The negro on the brain., Title from item., Date inferred from content., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [ca. 1863]
Location: Library Company of Philadelphia | Print Department cdv - misc. - Civil War - Caricatures and cartoons [5792.F.1a]

Title: Stephens' album drolleries no. 1 Our relations at home and abroad
Description: Collection of twelve numbered and captioned comic cards satirizing the diplomatic relations between the United States, Confederate States, Great Britain, France, and Mexico during the Civil War. First nine cards show the British "surly lion" giving a "generous roar," (i.e., the recognition by Great Britain of the Confederacy); which "temporarily astonishes" the "Gallic Cock"; who eventually overpowers the lion; who later weeps "is he not a bird and brother" for a crow, (i.e. an enslaved person of the South) at Exeter Hall; "which he forgets in the embrace of the "Belligerent Wolf of the C.S.A." while stepping on the crow; which leads to his "arming of the wolf"; while the Mexican vulture is garroted by the Gallic cock (i.e., French intervention in Mexico); causing the lion to protect his rams with the introduction of the "Swamp Angel" and Greek fire, (i.e. the bombing of Charleston) by the American eagle; which causes the "grand combat" between the eagle and the wolf. Last three cards predict "to consult history" to see the Union victory of the eagle over the wolf; the eagle vindicating the Monroe Doctrine in Mexico by overthrowing the Gallic cock; and the little child Liberty leading the supplicant British lion and Gallic cock., Attributed to James Queen after Henry Louis Stephens., Title from accompanying wrapper., Date from copyright statement by William A. Stephens., Originally part of a McAllister scrapbook of humorous caricatures and photographs. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Queen, a Philadelphia lithographer and pioneer chromolithographer known for his attention to detail, served in the Civil War militia from 1862 until 1863, and created several lithographs with Civil War subjects.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer
Date: 1863
Location: Library Company of Philadelphia | Print Department Henry Louis Stephens Collection [5780.F.55a-l]

Title: Sketches for the Washington Races in October 1840 British steeds of your speed I have not a doubt, but if Yankees an't stouter they are as stout, a black jock, in looks so much like a monkey, rides a good horse as an ape rides a donkey
Description: Portfolio containing three prints depicting African American men jockeys, portrayed in racist caricature, speaking in the vernacular, and attired in long underwear, during key moments from a two-mile heat at the Washington Race Course in Charleston, South Carolina. Pl. 1 shows the beginning of the race with three jockeys reigning in and spurring on their horses. Caption reads: At the tap of the drum they jump off from the stand, Be the track deep in mud or heavy with sand, At a pace which at once makes fast ones extend, An e'en the best winded cry bellows to mend. Pl. 2 shows two jockeys racing past a fence as one prepares to whip his mount that trails behind. Caption reads: And now they have reach'd the third mile, second heat, The mare is still going, the horse is dead beat; Say Sambo "Me know how Mass him do it, so me gib him de whip, and make him stick to it." Pl. 3 shows the horse previously in the lead winning the race in a stagger by the judge's stand filled with well-dressed gentlemen. The other jockey races in from behind. Caption reads: Now the Winner comes in decidely blown, Tho 'ere two miles were done the race was her own, but they go the whole hog in this western clime, When they've beaten the field they run against time. The Washington Race Course, also known as the Charleston Race Course, was developed by 1792 and served as the one-mile track for the South Carolina Jockey club annual one-week races in early February. The jockeys were usually enslaved men and the races were a series of two, three, and four mile heats run by the same jockeys and horses. The track closed circa 1900., "Eye witness" attributed as conservative British politician Charles Newdigate Newdegate., Inscribed on front cover: the Lord Brook. Sir Richard Henry Greville, 3rd Earl of Warwick was known as Lord Brook in his later years., Plates numbered in upper right corner: Pl. 1; Pl. 2; Pl. 3., 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.
Creator: Newdegate, Charles Newdigate, 1816-1887
Date: [ca. 1840]
Location: Library Company of Philadelphia | Print Department *albums (flat) [P.2010.8.1-3]

Title: Northern coat of arms
Description: Racist cartoon expressing anti-abolitionist sentiment within the North by depicting a "Northern Coat of Arms," in which only the rights of African Americans are represented. Depicts a Phrygian cap from which an African American man's large feet protrude. The cap, inscribed "Liberty," is adorned with the American symbols of stars and the eagle with an arrow and olive branches., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1864 by j.E. Cutler in the clerk's office of the district court of the dist. of Mass., Series no. printed on recto: 159., Probably drawn by Joseph E. Baker, Boston., Accessioned 1979., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: 1864
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1864-36R [P.2275.4]

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]

Title: [Road to Philadelphy] [graphic].
Description: Attributed to E.W. Clay., Title and publication information supplied by Wainwright., Clay, born in Philadelphia, was the most prolific caricaturist of the Jacksonian era. He became well known for his popular racist series, "Life in Philadelphia," published from 1828 until around 1830, which mocked upwardly mobile African American Philadelphians as ineptly attempting to imitate the white middle class., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era. (PhD. diss., The University of Michigan, 1980), p. 76, 358. (LCP Print Room, Uz A423.O), LCP holds duplicate untrimmed print: *Wainwright 315., Racist caricature simultaneously mocking and condoning the pretentiousness and bigotry of early 19th century Philadelphia Quakers toward their "social inferiors." On a Philadelphia road in front of a small home with an open picket fence and a visitor arriving on horseback, a raggedly dressed dark skinned traveler with buck teeth, possibly an Irishman or African American, asks a rotund Quaker man and his attractive prim and proper daughter, "I say, this isn't the road to Philadelphy, honey, is it?" The father responds indignantly to the "Friend," that he is not only asking a question, but also telling a lie, and of course it is the road.
Date: [1830 or 1831]
Location: http://www.lcpgraphics.org/wainwright/W315.htm, Library Company of Philadelphia Print Dept. W315 [P.2179]

Title: [Road to Philadelphy] [graphic].
Description: Attributed to E.W. Clay., Title and publication information supplied by Wainwright., Clay, born in Philadelphia, was the most prolific caricaturist of the Jacksonian era. He became well known for his racist popular series, "Life in Philadelphia," published from 1828 until 1832, which mocked upwardly mobile African American Philadelphians as ineptly attempting to imitate the white middle class., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 76, 358. (LCP Print Room Uz, A423.O)., LCP holds duplicate trimmed print: W315., Gift of William Helfand., Racist caricature simultaneously mocking and condoning the pretentiousness and bigotry of early 19th century Philadelphia Quakers toward their "social inferiors." On a Philadelphia road in front of a small home with an open picket fence and a visitor arriving on horseback, a raggedly dressed dark skinned traveler with buck teeth, possibly an Irishman or African American, asks a rotund Quaker man and his attractive prim and proper daughter, "I say, this isn't the road to Philadelphy, honey, is it?" The father responds indignantly to the "Friend," that he is not only asking a question, but also telling a lie, and of course it is the road.
Date: [1830 or 1831]
Location: http://www.lcpgraphics.org/wainwright/W315.htm, Library Company of Philadelphia Print Dept. *W315 [P.9576]

Title: The adventures of a conscript as told by himself
Description: Collection of twelve numbered and captioned comic cards using humanized animals to portray domestic and military scenes in the life of a conscripted rabbit. Includes cards showing the rabbit reviewing a "Draft" poster and declaring himself a patriot if drafted; the rabbit receiving the "agonizing fact" of his draft notice; his failed attempt to employ a substitute - a "Quack" of a duck rejected by a donkey of a surgeon (Dr. Donkey); his farewell to his love; his "fearful carnage" of the foe; his retreat to make "a sturdy rebel fly"; his successful "perilous duty" to deliver "despatches" to an owl general, including a confrontation by "a band of Gorillas," portrayed as racist caricatures, and his beheading of the Gorilla Chief; his promotion to Brigadier General; and his release from duty to "crown his glory with love" in wedded bliss., Attributed to James Queen after Henry Louis Stephens., Title from series title., Date from copyright statement by William A. Stephens., Originally part of a McAllister scrapbook of humorous caricatures and photographs. McAllister Collection, gift, 1886., Described in Gathering history: The Marian S. Carson Collection of Americana. (Washington, DC: Library of Congress, 1999), p. 91., RVCDC, Description revised 2021., Access points revised 2021., Queen, a Philadelphia lithographer and pioneer chromolithographer known for his attention to detail, served in the Civil War militia from 1862 until 1863, and created several lithographs with Civil War subjects.
Creator: Queen, James Fuller, 1820 or 21-1886, lithographer
Date: 1863
Location: Library Company of Philadelphia | Print Department Henry Louis Stephens Collection [5780.F.56a-l]

Title: He dreamt dat from away off thar de angels sent him news. He 'woke and found it was Dunbarr dat sent dem bully shoes; 60 N. Fourth St. Philadelphia
Description: Racist, satiric trade card depicting an African American man, portrayed in racist caricature and attired in a straw hat, a white collared shirt, pants with patches at the knee, and old shoes, sleeping with his back resting against a haystack in a field. A rifle is propped on the haystack beside him. An African American angel with wings flies toward the sleeping man with a pair of boots in his outstretched right hand. In the background is a scarecrow. Text printed on the recto describing the scene is written in the vernacular. Burns & Zeigler succeeded the firm of Geo. S. Clogg & Son in 1875., Title from item., Date inferred from dates of operation of business., Contains advertising text printed on verso: E. L. Burns. F. T. Zeigler. Burns & Zeigler, dealers in fashionable boots and shoes, No. 1109 Pennsylvania Avenue, betw. Eleventh and Twelfth Sts., Washington, D.C. F. Lisiewski & Co., prs., 639 Arch St., Gift of Emily Phillips, 1883., 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., Digitized.
Creator: Donaldson Brothers (Firm)
Date: [ca. 1875]
Location: Library Company of Philadelphia | Print Department trade card - Burns & Zeigler [1975.F.33]

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]

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]

Title: A new song suitable to the season, to the tune of good English beer
Description: A cartoon supporting the Old Ticket Party of Pennsylvania which advocated a conversion from a proprietary government to a royal colony. Depicts well-to-do Philadelphians in a tavern drinking and singing "Huzza Old ticket, Old Ticket Forever." An African American server serves the men as he states in patois his support of the Old Ticket. As the devil exits the tavern, he indicates his support for the New Ticket Party which supported the existing proprietary government. Contains an electioneering song of six verses from which the depicted Philadelphians sing verses. The tavern was often used as a place to canvass election support and treat voters., Place and date of publication supplied by Evans., Possibly the work of Henry Dawkins., 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., RVCDC, Description revised 2021., Access points revised 2021.
Date: [1765]
Location: Library Company of Philadelphia | Print Department Political Cartoons -[1765] - New [959.F.87a]

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]

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]

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, a white bow tie, black pants, black stockings, black slipper shoes, and white gloves. His eyes look up and his mouth is open. He sings a love song while the woman seated in the left plays a guitar decorated with blue ribbons. Her head is turned toward the man and she sits on a bench with a blue cushion. She wears a large white bonnet adorned with red and blue bows and with ribbons tied into a bow under her chin. She is also attired in a maroon dress with long puff sleeves, black trim, and a laced bodice, black 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 brown hand coloring. Setting also includes a carpet with a decorative pattern., Title from item., Date supplied by article about print in Daily Chronicle, December 10, 1829, p. 2., Contains eight lines of dialogue in the vernacular and dialect above the image: Dat is bery fine, Mr. Mortimer, _ you sing quite con a moor, as de Italians say!! “Take away, take away dos rosy lips, “Rich, rich in balmy treasure!_”Turn away, turn away dose eyes o blub, “Less I die wid pleasure!!!”, Inscribed: Plate 12., Inscribed: Copy right secured., S. Hart & Son was a partnership between Sarah and Abraham Hart, Jewish owners of a Philadelphia stationery store who assumed the publishing of the "Life in Philadelphia" series in 1829. She reprinted the entire series of 14 prints in 1830., Described in Daily Chronicle, December 10, 1829, p. 2., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: 1829
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.9694]

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]

Title: [Folk art portraits of two African American women and two African American men]
Description: Folk art bust-length portraits of two African American men and two African American women, portrayed in racist caricature, shown in a row, alternating woman, then man. In the left, the woman, wearing her hair in two braids tied with blue bows on either side of her head that stick out, with red lips, and attired in an off-the-shoulder blue dress with ruffles, faces forward with her eyes looking left. Beside her the man, with red lips and attired in a white collared shirt, a pink tie, and a black jacket, slightly faces left and his eyes look at the woman. The woman, wearing her hair tied in multiple braids, with pink lips, and attired in a pink, ruffled dress, looks to the left. In the right, the man, with pink lips and attired in a blue bowtie, a white shirt with blue stripes, and a black jacket, faces left and looks at the woman., Title supplied by cataloger., Gift of Mrs. S. Marguerite Brenner, 1984., 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: [1909]
Location: Library Company of Philadelphia | Print Department Drawings & Watercolors - Unidentified - Faces [P.9057.28]

Title: Life in Philadelphia. The cut direct. or getting up in the world
Description: Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his other hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Print Room Uz, A423.O).
Date: [ca. 1832]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7893.F.2]

Title: Life in Philadelphia. The cut direct. or getting up in the world
Description: Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his other hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Print Room Uz, A423.O)
Date: [ca. 1832]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) (P.9718a)

Title: Life in Philadelphia. The cut direct. or how to get up in the world
Description: Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his free hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Uz, A423.O).
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9718b]

Title: Life in New York
Description: Collection of social caricatures lampooning the pretensions of early 19th century middle-class African American New Yorkers. Influenced by an increased fascination with American culture and a growing racism pending the abolition of slavery in England, the black characters are depicted in outlandish dress with exaggerated manners, and speaking in patois and malapropisms in an inept attempt to mimic white high society. The caricatures focus on courtship and the merchant of a steam press laundry., English reprint of the Anthony Imbert series "Life in New York" originally published around 1830. Although the American series consisted of at least eight prints, the number of prints included in the London series is unknown. LCP holds two of the series. The English prints were published in London in the early 1830s by W.H. Isaacs, H. Isaacs, and G.S. Tregear., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 93-97. (LCP Print Room Uz, 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.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set)

Title: The Rivals embrace
Description: Racist, satiric trade card promoting varnish manufacturer Clarence Brooks and Co. Depicts a genre scene with two African American men suitors courting an African American woman while trying to ice skate on a frozen river. The figures are caricaturized and portrayed with exaggerated features. Two men, their mouths open clutch onto one another, their legs twisted, as they try not to fall on the ice. The man to the left is attired in ice skates; blue pants; a red jacket; white collared shirt; and a top hat that has fallen off. The man to the right is attired in ice skates; yellow suit with red checks; and a top hat. The woman they court watches the scene from the shore. Her mouth is open and her hands are apart in alarm. She is attired in white shoes; red stockings; a blue dress; purple coat; and straw bonnet adorned with a pink feather. In the background are two more ice skaters and a building. Clarence Brooks established his varnish business in 1859 as Brooks and Fitzgerald, later Clarence Brooks & Co. In 1881, the firm issued a calendar illustrated with African American caricatures in genre scenes., Title from item., Place of publication deduced from place of operation of advertised business., Date deduced from history of the advertised business and visual content., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Clarence [P.2017.95.26]

Title: " Ariosa" Coffee. One gleam of consolation. From "Judge" by permission
Description: Trade card promoting Arbuckle's Ariosa Coffee. Depicts a racist caricature originally published in the satirical periodical “Judge” of an older African American woman and older, African American Deacon in conversation. The figures are portrayed with exaggerated facial features and speaking in the vernacular. They stand across from each other in a home setting. "Mrs. Johnson" is attired in a attired in a yellow apron over a black dress, a red vest, and an orange, head kerchief. She has a pipe in her mouth. "Deacon Smith" is attired in a top hat, blue coat over a white collared shirt with red bow tie, brown pants, black shoes, spectacles, and leans on a cane. Depicts Deacon Smith providing comforting words to Mrs. Johnson after she "loose de bigges' chile." The Deacon consoles "Providence am allus mercies in disguise" to which Mrs. Johnston agrees the child was "allus a mon-st'ous eatah." In the background is a steaming kettle on a small stove with a chimney pipe. On the verso is an illustration showing the exterior of the Arbuckle Ariosa Coffee's Brooklyn factory near a dock. View includes men loading train cars, horse-drawn wagons, and ships with cargo. Brothers John and Charlie Arbuckle, Arbuckle Bros., established their factory and warehouse in Brooklyn in 1881 after they invented a machine that roasted, ground, and packaged coffee into bags. Their first national brand was patented under the name Arbuckle’s Ariosa. The company succeeded into the 20th century. Following John’s death in 1912 the company declined and was broken up by the Arbuckle family in the late 1930s., Title from item., Place of publication deduced from place of operation of advertised business., Text printed on recto: Mrs. Johnson (mournfully)--"Ah deacon! It am very hard to loose de bigges' chile I's got." Deacon Smith (consolingly)-- "Dat am true, Mrs. Johnsing; but dese cha'tisements of Providence am allus mercies in disguise." Mrs. Johnson (meditatively)-- "Y-e-e-s; Jeems was allus a mon-st'ous eatah.", Advertising text printed on verso: "Ariosa" Coffee. No. 96. 839,972 pounds roasted daily. The enormous consumption of the popular brand gives proof that for strength, purity and deliciousness it has no equal., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection -Arbuckle [P.2017.95.7]

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]

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]

Title: Clarence Brooks & Co., manufacturers of fine coach varnishes, cor. West & West 12th Sts., New York "ceticism my belobed bredren. It am something beautiful frinstance it am light and airy - like de bean."
Description: Trade card employing an African American Oscar Wilde caricature. Wilde toured the United States in 1882. The Wilde figure, wearing long hair and attired in blue knee breeches with red bows, a red jacket with tails, black socks, and gold slippers lectures to an audience of well-attired African American men and women. He stands at a table adorned with a piece of paper, a candle in a bottle, and a water glass containing a sunflower. To his left, an older frowning man sits with an umbrella between his knees on the stage, while in the first row, two women (one wearing a sunflower on her hat) swoon in front of a lanky man, standing, and looking moonfaced. Clarence Brooks established his varnish business in 1859 as Brooks and Fitzgerald, later Clarence Brooks & Co. In 1881 the firm issued a calendar illustrated with African American caricatures in genre scenes., Publication date inferred from image content., Purchased with the Davida T. Deutsch African American History Fund.
Date: [ca. 1882]
Location: Library Company of Philadelphia | Print Department trade card - Brooks [P.2014.35]

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