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Title: Sanford's new Opera House Race Street, between Second and Third Wednesday eve'ng, Nov. 16, 1864 Success unprecedented!! The opening crowded with the elite of the city! Hundreds of ladies unable to get seats!! The company has met the approval of the audience. The verdict has been proclaimed! A guarranty of permanence, the entertainment the best, and this to be the temple of minstrelsy. Look at the change on the third night! Programme. ... The exempts ... Les Miserables! ... To conclude with Sanford's sketch, entitled Happy Uncle Tom! ... Doors open at 7 o'clock. Commence quarter before 8. Cards of admission, 25 cents Orchestra chairs, 50 cents. Private boxes 1, 2, 3 and 4, dress circle, $5. Private boxes 1, 2, 3 and 4, family circle, $4. The box office will be open from 9 to 2 o'clock, for the sale of secured seats and the disposal of private boxes In preparation The shoemaker and tailor of Kensington in which Miss Julia Sanford will appear as Columbine
Description: The company includes: F. Basquin, T.R. Deverill, Dan Gardner, J.M. Mortimer, H.J. Raynor, J.P. Reese, S.S. Sanford, Frank Schaeffer, F.W. Stempel (a.k.a. Master Willie), Larry Tooley, J.B. Whitman, and J. Williams., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.55b (McAllister)

Title: Sanford's new Opera House Race Street, between Second and Third Thursday eve'ng, Nov. 17th, 1864. Fourth night. Success unprecedented!! The opening crowded with the elite of the city! Hundreds of ladies unable to get seats!! The company has met the approval of the audience. The verdict has been proclaimed! A guaranty of permanence, the entertainment the best, and this to be the temple of minstrelsy. Look at the change on the third night! Programme. ... The exempts ... Les Miserables! ... To conclude with Sanford's sketch, entitled Happy Uncle Tom! ... Doors open at 7 o'clock. Commence quarter before 8. Cards of admission, 25 cents Orchestra seats, 50 cts Private boxes, dress circle, $5 Private boxes, family circle, $4 & $3 Office will be open from 9 to 2 o'clock, for the sale of secured seats and boxes, without extra charge. In preparation The shoemaker and tailor of Kensington in which Miss Julia Sanford will appear as Columbine
Description: The company includes: F. Basquin, T.R. Deverill, Dan Gardner, J.M. Mortimer, H.J. Raynor, J.P. Reese, S.S. Sanford, Frank Schaeffer, F.W. Stempel (a.k.a. Master Willie), Larry Tooley, J.B. Whitman, and J. Williams., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.56a (McAllister)

Title: Sanford's new Opera House Race Street, between Second and Third Friday evening, Nov. 18th, 1864. Fifth night. Sanford as Uncle Tom! The company has met the approval of the audience. The verdict has been proclaimed! A guaranty of permanence, the entertainment the best, and this to be the temple of minstrelsy. Look at the change on the third night! Programme. ... The exempts ... Les Miserables! ... To conclude with Sanford's sketch, entitled Happy Uncle Tom! ... Doors open at 7 o'clock. Commence quarter before 8. Cards of admission, 25 cents Orchestra seats, 50 cts Private boxes, dress circle, $5 Private boxes, family circle, $4 & $3 Office will be open from 9 to 2 o'clock, for the sale of secured seats and boxes, without extra charge. In preparation The shoemaker and tailor of Kensington in which Miss Julia Sanford will appear as Columbine. Grand matinee on Thanksgiving Day! When children will be admitted at fifteen cents each
Description: The company includes: F. Basquin, T.R. Deverill, Dan Gardner, J.M. Mortimer, H.J. Raynor, J.P. Reese, S.S. Sanford, Frank Schaeffer, F.W. Stempel (a.k.a. Master Willie), Larry Tooley, J.B. Whitman, and J. Williams., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.56b (McAllister)

Title: Sanford's new Opera House Race Street, between Second and Third Glorious bill! for Saturday evening, Nov. 19, '64. Sanford's great troupe! in all their original variety Sanford as Uncle Tom. Programme. ... The exempts ... Les Miserables! ... To conclude with Sanford's sketch, entitled Happy Uncle Tom! ... Doors open quarter-past 7 o'clock. Commence quarter before 8. Cards of admission, 25 cents Orchestra seats, 50 cts Private boxes, dress circle, $5 Private boxes, family circle, $4 & $3 Office will be open from 9 to 2 o'clock, for the sale of secured seats and boxes, without extra charge. In preparation The shoemaker and tailor of Kensington in which Miss Julia Sanford will appear as Columbine. Grand matinee on Thanksgiving Day! When children will be admitted at fifteen cents each
Description: The company includes: F. Basquin, T.R. Deverill, Dan Gardner, J.M. Mortimer, H.J. Raynor, J.P. Reese, S.S. Sanford, Frank Schaeffer, F.W. Stempel (a.k.a. Master Willie), Larry Tooley, J.B. Whitman, and J. Williams., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.57a (McAllister)

Title: Sanford's new Opera House Race Street, between Second and Third Monday evening, November 21st, 1864 Unprecedented success!! The northern portion of the city in ecstacies at the performances of Sanford's Troupe Observe the great bill. First appearance of Miss Julia Sanford! Programme. ... Strange scenes from the stranger ... Handy Andy. ... To conclude with the opera of The rivals! ... Doors open quarter-past 7 o'clock. Commence quarter before 8. Cards of admission, 25 cents Orchestra seats, 50 cts Private boxes, dress circle, $5 Private boxes, family circle, $4 & $3 Office will be open from 9 to 2 o'clock, for the sale of secured seats and boxes, without extra charge. In preparation The shoemaker and tailor of Kensington in which Miss Julia Sanford will appear as Columbine
Description: The company includes: Dan Gardner, D. Jordan, J.M. Mortimer, H.J. Raynor, J.P. Reese, Julia Sanford, S.S. Sanford, Frank Schaeffer, Larry Tooley, Jake Wallace, and J. Williams., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.58b (McAllister)

Title: Sanford's new Opera House Race Street, between Second and Third Wednesday evening, Nov. 23d, 1864. The Race Street Opera House! Established! and filled nightly with the elite of the entire city to witness Sanford and his associates! in the best minstrel performance in the world Third night of Miss Julia Sanford! Programme. ... Strange scenes from the stranger ... Handy Andy. ... To conclude with the opera of The rivals! ... Doors open quarter-past 7 o'clock. Commence quarter before 8. Cards of admission, 25 cents Orchestra seats, 50 cts Private boxes, dress circle, $5 Private boxes, family circle, $4 & $3 Office will be open from 9 to 2 o'clock, for the sale of secured seats and boxes, without extra charge. In preparation The shoemaker and tailor of Kensington in which Miss Julia Sanford will appear as Columbine. Thanksgiving Day, a grand performance! at two o'clock--children will be admitted at fifteen cents each
Description: The company includes: J. Ferdinand, Dan Gardner, D. Jordan, J.M. Mortimer, H.J. Raynor, J.P. Reese, Julia Sanford, S.S. Sanford, Frank Schaeffer, Larry Tooley, Jake Wallace, and J. Williams., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.59a (McAllister)

Title: Sanford's new Opera House Race Street, between Second & Third Saturday evening, November 26, 1864 House crowded to excess to witness Sanford's Opera Troupe 25 performers 25 Programme. ... Strange scenes from the stranger ... Lawyer outdone! ... To conclude with the pantomime of The four lovers ... Cards of admission, 25 cents Orchestra seats, 50 cts Private boxes, dress circle, $5 Private boxes, family circle, $4 & $3 Office will be open from 9 to 2 o'clock, for the sale of secured seats and boxes, without extra charge. On Monday, The shoemaker & tailor of Kensington
Description: The company includes: Dan Gardner, J.M. Mortimer, H.J. Raynor, J.P. Reese, Julia Sanford, S.S. Sanford, Frank Schaeffer, Larry Tooley, Jake Wallace, and J. Williams., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.59b (McAllister)

Title: Sanford's new Opera House Race Street, between Second & Third Monday evening, November 28, 1864 The great pantomime of Ye shoemaker and tailor of Kensington, by Sanford's Opera Troupe Programme. ... The exempts! ... Challenge dance ... I'm from the country ... To conclude with the pantomime of The shoemaker & tailor of Kensington ... Cards of admission, 25 cents Orchestra seats, 50 cts Private boxes, dress circle, $5 Private boxes, family circle, $4 & $3 Office will be open from 9 to 2 o'clock, for the sale of secured seats and boxes, without extra charge. Doors open at quarter before 7 o'clock. To commence quarter before 8
Description: The company includes: J. Foster, Dan Gardner, J. Johnson, J.M. Mortimer, H.J. Raynor, J.P. Reese, Julia Sanford, S.S. Sanford, Frank Schaeffer, Larry Tooley, Jake Wallace, and J. Williams., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Sanford's Opera House (Philadelphia, Pa.)
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB Phi Sanford 1864 (26)5761.F.60a (McAllister)

Title: Scraps illustrative of the history of Phil[adelphia]. Vol. 5
Description: Scrapbook containing predominantly clipped illustrations, prints and ephemera dated 1855-1856 and pertaining to the built environment, and social and cultural climate of Philadelphia. Contents include several wood engravings, engravings, cameo stamps, and lithographs depicting prominent city landmarks, businesses, cityscapes, and caricatures and cartoons. Many of the graphics are advertisements and vignettes, or illustrate published articles. Advertisements depict F. Roussel Perfumery (114 Chestnut); W. J. Horstmann, trimmings (223 Chestnut); E. Mathieu, clarified cider and vinegar (14 Lombard); Stoddart’s Dry Good Store (278 N. Second); a Segars and tobacco store (93 S. Sixth, i.e., 300 block); Bennett’s Tower Hall (184 Market, i.e., 600 block); C. B. Rogers & Co. Agricultural Works and Bone Mill; P.F. Cunningham Catholic Book Store (104 S. Third); "Palmer’s Patent Leg, as exhibited at the World’s Exhibition, London, 1851"; J. H. Rohrman, Japan Ware Manufactory (96 Cherry); Carpenter’s Schuylkill & Eastern Ice Depot (Franklin & Willow); Mills B. Espy, preserved fruits (109 S. Third); J. Thornley’s India-Rubber Emporium and Magnetic Telegraph Offices (101 Chestnut, i.e., 300 block); Thomas & Sons auction house and E. H. Butler & Co., publishers (67 S. Fourth, i.e., 200 block); The State Savings Fund (83 Dock); Leary’s Cheap Book Store (158 N. Second, i.e., 200 block); John Baird Marble Mason (Ridge Avenue); Farmers & Mechanics Fire Marine & Life insurance Co. (200 block Walnut) Frederick Brown Building (Chestnut and Fifth); Fritz, Williams, & Hendry, leather (29 N. Third); Henry Tilge & Co., importers & dealers in hatters goods (140 N. Third); F.A. Hoyt & Brother, boys clothiers (1000 block Chestnut); Masonic Hall and adjacent properties, including Horstmann and Washington House (700 block Chestnut); Thornley & Chism, dry goods (700 block Spring Garden); and North, Chase & North, iron founders (Second and Mifflin)., Other graphics show "Chapel and Principal Entrance. To the Monument Cemetry [sic] Phila."; Institution for the Blind; First Presbyterian Church; a building at "Pine & William St. West Phila."; an 1837 view of the American Sunday School Union annotated "Chestnut Street next E. of Jones Hotel; and the houses eastward to S.E. cor. of Sixth & Chestnut Street – Durand’s apothecary shop"; Stand Pipe for the West Philadelphia Water Works; "City Ferry Boat"; and a view of the entrance to Mount Moriah Cemetery, and map, including the cemetery; and genre engravings "The Farm-House Pets" and The Roadside Inn " by J.H. Byram annotated "specimen of the art of engraving on wood in Philadelphia 1855." Vignettes depict "A Merchant of Philadelphia in the year 1745"; housewares, including a sieve, bath tub, ranges and furnaces, and drapery; a "“Know Thyself” phrenological head annotated “Fowler, Wells & Co."; a "J.B. Smith, New Street File Works" file; and an annotated 1832 view of C. & N. Jones Stockings (200 block Chestnut) [p. 28 and 31]. Caricatures and cartoons satirize an African American women peddler "Hot Corn Biddy"; spiritualism; fashion; the medical profession; and street musicians., Scrapbook also contains several lithographs from the 1830 edition of "Watson's Annals," ephemera, and newspaper clippings. Watson plates include Stone Prison at Philadelphia 1728, Carpenter’s Mansion, London Coffee House, and High Street & Market Shambles. Most are accompanied by detailed manuscript notes by Poulson. Ephemera includes a chart of "Length of Squares East and West"; hand-colored, illustrated lithographed invitation for the "Hand in Hand Fire Company, First Grand Citizens Dress Ball" (1847); illustrated invitation to Islington Park showing Islington Park (1848); seals of the Agricultural Society of Philadelphia, Pennsylvania Railroad Company, All Saints Church, Moyamensing; a “Ship news” cut from "Poulson’s American Daily Advertiser" (1822) annotated “designed at my request by my friend John Lewis Krimmel, the now celebrated painter; and engraved on brass by Mason, So. Fourth St."; "The Old State House Bell" souvenir poem; architectural drawing "N.W. Corner 2d & Chestnut St. extending W on Chest. St. torn down abt. 1832" (includes R. Jones, engraver; I. Davis confectionary; [C. & N. Jones] Stocking Store); and a partial circular advertising De Grath’s “Electric Oil” Depot, No. 39 South Eighth Street (1859)., Newspaper clippings include illustrated advertisements and articles; editorials; anecdotal and current event pieces; and columns reporting about city improvements and public interest stories. Illustrated pieces detail Lafayette Vauxhall Garden; a "Bird’s Eye View of the City of Philadelphia"; Central High School; the Society of the Cincinnati; the major 1856 fire at Sixth and Market streets; "The Trained Elephants ‘Victoria’ and ‘Albert’ " at the National Circus; "Gentlemen’s Short Boots"; and the new hall of the Athenaeum. Anecdotal and current event articles include commentaries about the closing of Blood’s Despatch Post in flavor of the Post Office (1861); the new traveling coach built by W. D. Rogers for entertainer Dan Rice; the influx of envelopes due to the change in the Post Office law (1841); a new cooling apparatus installed in Walnut Street Theatre (1855); the 1855 State Poultry Exhibition; and the planting of oysters in Back Creek below the city. Editorials discuss the Philadelphia Book Trade (1855); Academy of Natural Sciences; deterrents for pedestrians on Chestnut Street, including extension of shopfronts into the sidewalk and side show hawkers; ladies fancy work fads, including scrap furniture and poticho mania (1856); and the mansions of George Washington and George Willing., Other columns report about West Philadelphia; the 1856 fires at Bingham Mansion and the Artisan’s Building (100 block Chestnut); government buildings, including the Custom House, Commissioners Hall and United States Mint; city trades, including lager beer; city improvements, including the modification of street names, removal of the market sheds on Market Street, the laying of the cornerstone of the Church of Evangelists, the forthcoming erection of the new hospital for Christ Church; and new establishments, including Granville Stokes “picton stone” store (209 Chestnut). Clippings also include lists, reports, and tables about the cattle market; real estate sales; taxables (1841); crime statistics; the fire department companies; and building improvements. Scrapbook also contains explicative manuscript notes by Poulson (some tipped in or inscribed on lettersheets). Topics include Carpenter’s Mansion, Pennsylvania Hospital, and the State House. Some notes explicate accompanying graphics., Majority of contents annotated with a date. Several annotated with a detailed manuscript note by Poulson., Chromolithograph “Philadelphia” containing vignettes of portrait of Benjamin Franklin and the seal of the city and annotated by Poulson pasted on p. 4. Print inscribed: "Vincit qui se vincit. Vol. V. Collected from fugitive sources only, By C. A. Poulson.", "Index to set in back part of vol. XI.", Several photographs by F. De. B. Richards and James McClees, including views of Independence Hall, La Pierre House, and Central High School, removed to the Print Department., Original watercolors by Poulson, including view of Walnut Grove removed to Print Department., Various artists, engravers, and printers include William Avery; C. G. Childs; Edward Clarkson; S. H. Gimber; Alexander Lawson; C. A. Lesueur; J. H. Byram; King & Baird; R. Major; W. Mason; Charles F. Noble; Frederick Pilliner; John Sartain; Charles Spiegle; J. W. Steele; William Stott; William Strickland; R. Telfer; Cornelius Tiebout; and Charles Cushing Wright., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Poulson, Charles A. (Charles Augustus), 1789-1866, compiler
Date: 1822-1862, bulk 1855-1856
Location: Library Company of Philadelphia | Books & Other Texts | Rare Poulson scrapbooks - vol. 5 [(5)2526.F]

Title: Harm oneons Carolina melodies arranged for the piano forte
Description: Sheet music cover showing the minstrel group, the Harmoneons, in Blackface as a musical group playing in a tropical setting. The four men and one man dressed as a woman are seated and play instruments, including a triangle, fiddle, banjo, tambourine, and clappers. The men are attired in button-down, yellow striped shirts and white pants, and the woman in a short-sleeved, red and white dress. Palm trees, a mountain side, and ocean are visible in the background. The entertainers' and their characters' names are printed below the image: Js. Power as Toney; M. S. Pike as Fanny; L. V. N. Crosby as Pomp; F. Lynch as Gumbo; and Jno. Power as Sambo. The Harmoneons, founded by Crosby and originally managed by J. Simmons Davis, were one of the earliest minstrel troupes in the United States and were active into the 1860s., Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1845 by C. Bradlee & Co. in the clerk's office of the District Cou[rt]., Title list of scores printed on recto., Facsimile signature of minstrel L. V. N. Crosby printed on recto. LCP copy contains partial signature., Gift of Michael Zinman, 2009., Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Lower corners missing., 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: Sharp, William, 1803-1875, artist
Date: 1845
Location: Library Company of Philadelphia | Print Department GC - Entertainment - H [P.2009.25]

Title: I'se a dude!
Description: Trade card promoting New Jersey grocer H. G. Prall & Sons and depicting an African American man dandy, with a sheepish expression, and posed with his left hand to his lips and his other hand holding a white top hat at his shoulder. He is portrayed in racist caricature and attired in a ruffled white shirt, a white waistcoat adorned with a watch fob, a gold jacket with tails, and blue and white striped pants. He stands in front of a background of fauna details. H. G. Prall primarily appears as the sole proprietor of his grocery in later 19th-century directories, but is listed as H. G. Prall & Son in 1883., Title from item., Date inferred from city directory listing for business., Series no. printed on recto: 58., Advertising text printed on verso: H. G. Prall & Sons, Dealers in fine Groceries. Headquarters for Fish, Provisions, Flour, Feed, &c., 174 and 176 Main Street, Somerville, N. J., 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.
Date: [ca. 1883]
Location: Library Company of Philadelphia | Print Department trade cards - Prall [113419.D]

Title: The Universal clothes wringer
Description: Metamorphic trade card promoting the American Wringer Company's Universal Wringer. Depicts a racist "before and after" scene with and without the product. The before scene shows an African American laundress "Dinah" wringing clothes by hand over a tub. She states in vernacular speech that "de wringing am awful." A white woman chastises her to "look at these torn clothes." She holds up a square shaped cloth with tears. A clock is visible in the background. The women are shown as bust-length. Dinah wears a kerchief, an open collared shirt, and her sleeves are rolled up. The after scene shows a smiling "Dinah," wringing laundry with a "Universal" clothes wringer under the happy gaze of her employer. The women reach a hand out to one another. Dinah wears a high ruffled collar shirtwaist with a bow at her neck, long sleeves, an apron, and kerchief. A clock rests on a sideboard in the background. The American Wringer Company was established about 1861 and operated until at least the early 20th century. The company often provided a clock as a premium to purchase their laundry equipment., Title from item., Date inferred from attire of figures depicted., Text printed on recto: Oh mistis de wringing am awful, always tear de clothes 'spect dat I neber get through. What Dinah, six o'clock and not done yet! And look at these torn clothes. "What Dinah! Finished washing so soon! Why it's only three o'clock." "Hi golly! Mistis, been done dese two hours dis chile hab no more trouble, since you done got dis wringer. Neber tear de clothes neder., Advertising text on verso: The Universal Wringer Has the Following Points of Superiority. 1. Rolls of Solid White Rubber. 2. Rowell's Double Cog-wheels. 3. Two Independent Pressure Screws. 4. Double cogs at both ends of each Roll. 5. Folding Apron or Clothes Guide. 6. Rocking Springs of wood and rubber. N. P. Baker, Dealer in General Merchandise, Sunapee, N. H., 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.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department trade card - American [113420.D]

Title: Your home is not complete without the Missouri Steam Washer. The best washing machine in the world. Johnston Bro's. St. Louis. Philadelphia There are more Missouri Steam Washers sold than all other washing machines in the world combined
Description: Trade card for the small portable washing machine invented by George D. Ferris and marketed by Johnston Bros., "General Agents for the United States." Depicts two male fairies, one white and one African American, presenting a "Missouri Steam Washer. Pat'd. May 1, 1883" to a white woman who stands over a washboard in a wash tub. Steam rises from the tub filled with clothes. The African American fairy, portrayed in racist caricature with orange wings and attired in blue pants with suspenders, pushes in the metal washing machine on a dolly, while the other fairy points to it. The African American fairy image was often used in newspaper advertisements for the machine that operated through placement on a family cook stove, internal perforated steam tubes, and a crank to keep the clothes in motion during washing., Title from item., Date from copyright statement: Copyright 1884., Contains five testimonials, including one by G. R. Brandt and Harry E. Brandt (Hurricane Laundry, 232 New Street), Philadelphia, Pa., printed on verso., 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.
Date: 1884
Location: Library Company of Philadelphia | Print Department trade card - Johnston [P.2013.35.1]

Title: Brother Gardner addresses the Lime Kiln Club on the virtues of Dixon's Stove Polish
Description: Racist, satiric trade card promoting Joseph Dixon Crucible Company's stove polish and depicting a caricature of an African American man presenting Dixon’s Stove Polish to the African American men members of the Lime Kiln Club. Shows Brother Gardner, the white-haired, African American man, in the left with spectacles on his forehead and attired in a white collared shirt with a red bowtie, an orange jacket with a sunflower on the lapel, red and white checked pants, and black shoes. He stands holding a blue box of Dixon’s in his left hand and a gavel in his right hand. In the left is a wooden table with a blue pitcher and a top hat on top of it and a sign that reads, “Dixon’s Carburet of Iron Stove Polish.” Brother Gardner addresses the men in the vernacular, who are identified by number with the key of their names on the verso of the card. In the right, the man, attired in a striped white collared shirt, a red tie, a white and blue striped jacket, yellow and red striped pants, and black shoes, sits on a wooden chair and examines a blue box of Dixon’s in his hands. Beside him another man, balding with tufts of white hair on the sides of his head and a white beard and attired in a red jacket and blue striped pants, kneels down and carries a brush in his right hand. Behind them two men sit on chairs and an additional nine men stand and listen to Brother Gardner. In the background, the wall reads, “Lime Kiln Club, Paradise Hall.” A horseshoe and framed prints that read “Beautify your homes” and “Rules of the Lime Kiln Club” hang on the wall. In the center is a large, black stove., The African American "Lime Kiln Club" caricatures originally were devised by Charles Bertrand Lewis (i.e., M. Quad) in the Detroit Free Press. The Joseph Dixon Crucible Company, established by Joseph Dixon in Salem, Mass. in 1827, produced graphite pencils, crucibles and stove polish, and relocated to Jersey City, N.J. in 1847. In 1868, the firm name changed from Joseph Dixon & Co. to the Jos. Dixon Crucible Co. In 1870 the firm won a trademark case against a Philadelphia competitor selling J.C. Dixon Stove Polish., Title from item., Date from copyright statement: Copyright 1886., Advertising text printed on verso: The Lime Kiln Club, Brother Gardner in the Chair. “Dis Club hab ebery reason to be proud of de Stove Committee. We has tried all de other stove polishes. We has been stunk out wid so-called peperahuns and seen de piping rust to pieces, till de stove-pipe wus a tumbled down disgrace to de good name of de Lime Kiln Club. De honah of dis occashun belongs to Brudder Shindig, who has made a name for hisself, by introducing Dixon’s Big cake of Stove Polish, and has covered hisself wid shine. Stand up, Brudder Shindig, and let us gaze upon your countenance. Now, my frens, let us draw a lesson from dis: Seek and find out for yerselves, and when you’s got a good ting stick to it, so dat, like DIXON’S STOVE POLISH, you may not only be a use to de community in which yer libes, but a shining example for de rest of mankind. “De club owes a vote of thanks to de Stove Committee, an’ to Brudder Shindig in particular, an’ extend de heartfelt thanks of de Lime Kiln Club to DIXONS for de valuable addition to de comfits of dis life through their CARBURET OF IRON STOVE POLISH. Wid one drawback, Brudder Shindig—you orer haf found dis outen befo’ for de DIXON’S STOVE POLISH has bin in de market SINCE 1827,--58 YEARS.” (Signed) No. 1. Bro. Gardner, 2. Old Man Jenkins, 3. Bro. Shindig, 4. Give-A-Dam Jones, 6. Sundown Davis, No. 7. Accordingly Davis, 8. Stepoff Johnson, 9. Trustee Pullback, 10. Sickles Smith, 11. Sir Isaac Walpole, 12. Layback Jones, Committee., Advertising text printed on verso: Fifty-eight years in market! The oldest, the best, the neatest, the quickest. Ask your dealer for Dixon's Stove Polish. Jos. Dixon Crucible Co., Jersey City, N.J. Illustration showing a box of "Dixon's Prepared Carburet of Iron (Trademark) For Polishing Stoves, Grates, Ranges, and Every Kind of Cast and Sheet Iron work.", Purchased with funds from the Walter J. Miller Trust for the Visual Culture Program., 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: 1886
Location: Library Company of Philadelphia | Print Department *trade card - J [P.2012.54.2]

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

Title: The black Republicans at their devotions
Description: Cartoon exploiting the stereotypes of the factions comprising the recently formed antislavery political party, the Republicans, before the Presidential Election of 1856. Depicts a meeting of the party members singing "Du da, du da." In the left is a white man, attired in a brimmed hat, a white collared shirt, a white waistcoat, and a black jacket and carrying a paper that reads, “Bobtail Hoss.” He represents a "puritanical bigot" abolitionist “who goes strongly in favor of stealing negroes.” In the center is a white man, attired in a white collared shirt, a black bowtie, a black waistcoat, and a black jacket, who is a "disciple of Free Love and Fremont" (i.e., John C. Fremont, the Republican presidential nominee). In the right, is a white man, wearing long hair and a beard and attired in spectacles, a ruffled, white collar shirt with a brooch, and a black jacket, who represents the "long bearded spiritualist." In the left foreground is an African American man, portrayed in racist caricature, who remarks in the vernacular, “Mass mos’ as good as brudder Bones.” In the background, more people sing “Du da,” including a woman, attired in spectacles, and described as “a hooked nosed, masculine crocodile, who is descanting upon woman’s rights and niggers’ wrongs.” Also visible is a statue of a man holding a staff atop a pedestal labeled “Du da.”, Title from item., Date inferred from content., Text printed on recto, below image: “The Mustang colt is young and strong, Du da du da; His wind is good, his knees not sprung, Du da du da da!” The artist has given in this group a representative of nearly all the isms that go to make up the pie-bald conglomeration of which the Black Republican party is composed. Here is the long-bearded spiritualist, who, like his candidate, has more hair than brains; then we have the genuine Aminidab Sleek, or the true disciple of Free Love and Fremont; then there is the sour, morose, puritanical bigot, who goes strongly in favor of stealing negroes, because their services can be secured at a much lower rate than he would have to pay white men; the darkey, emerging from below, is grinning with ferocious delight at the ‘Du da du,’ which is to exalt niggers above “sassy white people;” there is a wide and foul-mouthed slang-monger, in the back-ground, who goes in for free discussion on one side; a hooked nosed, masculine crocodile, who is descanting upon woman’s rights and niggers’ wrongs, because he is too lazy to work. There is the picture—look at it. Du da du. Nero fiddled while Rome was burning. Black Republicans sing foolish songs while the glorious fabric which our fathers reared in peril and blood, is dissolving in the fires of fanaticism. They make no appeal to our reason, but to our imagination; the reason and the judgment is not addressed, only our passions and our prejudices. They cannot sing a mere political adventurer into the Presidential chair., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [1856]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1856-Bla [5760.F.94]

Title: "I say Billy, do you know why I'm doing this? Cause, I'm going to run for Congress soon!"
Description: Satire belittling the increasing rights of African Americans following the Emancipation Proclamation and depicting a white shoe shine boy shining the shoes of an African American man, portrayed as a racist caricature of a Black dandy. On the street corner, the white boy shines the shoes of the African American man, attired in a top hat with a decorative band, a white collared shirt, a black bowtie, a plaid waistcoat, a checked jacket, striped pants, and black shoes. The shoe shiner speaks to another white boy, who is barefoot and attired in torn and worn clothes, "I say Billy, do you know why I'm doing this? Cause, I'm going to run for Congress soon!" In the left, a carriage passes by., Title from item., Date of publication supplied by Weitenkampf., Lib. Company. Annual Report, 1972, p. 63., Purchase 1972., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Potomac, artist
Date: [1863?]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1863-13W [8033.F.3]

Title: Pay day at the custom house, N.Y
Description: Cartoon depicting a crowd surrounding the New York City custom house where many upper class men scuffle or flee from tradespeople and shopkeepers demanding payment for bills owed. In the left, a white woman grabs a white man by the coat tails and exclaims, "Stop, you wagabone, & pay your washing-bill, you sarpint!" A rotund white man holds a bill and replies, "Hold on, good woman--Hold on til I get there. He owes me for his Grog score." In the center, a white man local official, attired in fine clothing and a top hat, is surrounded by creditors forming a long line holding bills and demanding payment, including for "five oyster suppers" and his "tailors-bill." A barefoot African American shoeshiner, portrayed in racist caricature and attired in torn and worn clothes asks in the vernacular, "Massa will you pay for brack de boots?" The official responds, "You black rascal, have you the impudence to present a bill to a man who has been chosen to office by the sober second thought of the people?" In the background, creditors chase the custom officials with their bills., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1847 by J. Baillie in the Clerk's Office of the District Court of the Southern District of N. York., Gift of Mrs. Francis P. Garvan, 1977., 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., Magee was a New York cartoonist and lithographer who eventually established his own lithographic firm in Philadelphia in 1850.
Creator: Magee, John L., artist
Date: 1847
Location: Library Company of Philadelphia | Print Department political cartoons - 1847 - Pay [8366.F.26]

Title: "The Freedman's Bureau."
Description: Visual pun on the Freedman's Bureau, a benevolent government organization, which aided formerly enslaved African Americans in the South by providing food, housing, and jobs, as well as establishing schools, hospitals, and a court system. Depicts a simply furnished attic room where an African American man, portrayed in racist caricature, ties his tie as he stands beside his bed and before his dresser/bureau. Atop the bureau, which has its top drawer open, is a stand with a broken mirror upon which you see the man's reflection. A portrait of Lincoln and a bow and fiddle hang on the wall. His overcoat and hat rest on a chair with a broken back behind him., Title from item., Date from copyright statement: Entered according to Act of Congress in the year A.D. 1868 by Currier & Ives in the Clerk's Office of the District Court of the United States for the Southern District of New York., Purchase 1968., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Worth was a comic and genre artist whose popular work was published by the lithographic firm Currier & Ives.
Creator: Worth, Thomas, 1834-1917, artist
Date: 1868
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1868-2W [7687.F]

Title: The two platforms
Description: Racist poster attacking radical Republican support of African American suffrage by comparing the platforms of Democratic candidate and white supremacist Heister Clymer and radical Republican candidate John White Geary during the 1866 Pennsylvania gubernatorial election. Depicts the side-by-side bust portraits of a white man titled "Clymer's Platform is for the White Man" and an African American man, portrayed in racist caricature with grotesque features, titled "Geary's Platform is for the Negro." Contains three lines of text above the image which reference the other "Radical" Republican candidates who support "Negro Suffrage" and two lines below which declares "Read the Platforms. Congress says, the Negro must be allowed to vote, or the states be punished.", Title from item., Date of publication supplied by Reilly., RVCDC, Purchase 1998., 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 - 1866-8 [9387.F]

Title: [Scraps for the year 1830]
Description: Plate three from the 1830 edition of "Scraps," Johnston's popular satirical series of societal caricatures published between 1828 and 1840, and in 1849. Depicts a montage of nine scenes lampooning contemporary society titled: Practitioners of the Bar Lamenting the Failure of the United States Mint; Putting the Best Leg Foremost; Fixed Air; Erudition; A Discharge of Filth; Improvement in Bathing; Conjugal Affection; Making Up a Party of Pleasure; and Hot Corn. Scenes depict: white men commodities brokers bemoaning the "winter" market at a tavern; white women shoppers lamenting a lost butter firkin and questioning the quality of a leg of meat including an African American man carrying a basket of food; two white men in a bed chamber with a closed window discussing the unhealthiness of "fixed air"; a white man quibbling over the omission of the word "physician" in the dictionary; the chastisement of a Boston drunkard near his overturned cart pulled by his drunk "haus"; a white man shower-bathing with an umbrella; the fattening of a dying white man to be purchased as a cadaver ; a working class, white Boston family reminding a destitute woman of the pleasure in witnessing a hanging; and a discussion of the processing of "hot corn" between a African American waiter and two white men patrons. Includes two African American characters, a servant and a waiter, portrayed in racist caricature and speaking in the vernacular., Title supplied by cataloger., Inscribed upper right corner: Pl 3., Published in D. C. Johnston's Scraps for the year 1830 (Boston: D.C. Johnston, 1830), pl. 3. (LCP Am 1830 Joh, 7021.F.3)., Retrospective conversion record: original entry, edited., Accessioned 1979., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Johnston, David Claypoole, 1799-1865
Date: [1830]
Location: Library Company of Philadelphia | Print Department political cartoons - [1830]-Scr [P.2275.25]

Title: Life in New York. Inconvienency of tight lacing
Description: Caricature satirizing early 19th-century, middle-class men’s fashion, specifically male corsets. Depicts a scene in front of a fence at New York's “St. John’s Park” where a white dandy dressed in a top hat, ruffled shirt, and slip on shoes holds onto a lamp post, his right leg up, outstretched, and held by a dandy man companion. He holds his head back and his right hand toward his mouth. The friend, similarly attired in a top hat, waistcoat, and stiped pants crouches with his legs apart. Both are unable to bend. A "practically" attired, older man wearing an overcoat, vest, pants, and boots stands to the right and observes the scene. He states that he will report the event to the "Morning Courier & N.Y. Enquirer." Scene also shows dense foliage and a tree in the park behind the fence., Title from item., Date inferred from content and name of publisher., Inscribed: No.4., Inscribed: St. Johns Park, Sept. 28, 1829., 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.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.2]

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

Title: Jim Crow and his poney [sic] never fail to please
Description: Racist print, possibly a performance handbill, depicting a simian equestrian rider attired in a military uniform and a hat. He holds an American flag while standing atop a horse galloping in a circus ring past a row of smiling and cheering white men, women, and children spectators., Title from item., Date inferred from content., Print pasted on back of ledger page with manuscript notes., Lib. Company. Annual report, 1997, p. 35-36., Purchase 1997., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [ca. 1835]
Location: Library Company of Philadelphia | Print Department GC - Entertainment [P.9557.2a]

Title: Adams Tampico Chewing gum. Each wrapper has a different Picture and joke, from "The Judge."
Description: Gum wrapper for Adams & Co. depicting a cartoon originally published in the satiric magazine "The Judge" and showing two African American men (Mister Johnson and Brother Snow) portrayed in racist caricature conversing in the vernacular on a dirt path after church services. The man in the left has a beard and is attired in a long overcoat, pants, and a top hat. He holds a "prayer" book and umbrella under his left arm and gestures to the other gentleman with his right arm. The gentleman in the right has a beard, wears glasses, and is attired in an over coat, striped pants, and top hat. He holds an umbrella as a walking stick in his left hand and carries a book under his right arm. He looks toward the gesturing man. Part of a wooden fence and skyscape are also visible. The Brooklyn gum manufacturer Adams & Co. operated circa 1871-1899. In 1899 Adams merged with six other chewing gum companies to form American Chicle Company., Title from item., Date inferred from content reproduced from The Judge., Caption: A Miracle. "What wuz de tex' dis mornin', Mister Johnson? I wuz too late."/"It wuz about de meracles, Brother Snow. Whar de Lor' fed seven people on five t'ousand baskets of fish."/ "I don't see any meracle about dat."/"Oh, de meracle am, dey all didn't bust.", Purchased with the Davida T. Deutsch African American History Fund., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department *ephemera - Packaging - A [113538.D]

Title: The lovers quarrel. "Now, Blanche, don't!" Clarence Brooks & Co. varnishes. Clarence Brooks & Co. fine coach, railway & pianoforte varnishes, cor. West & West 12th St. N.Y
Description: Trade card promoting varnish manufacturer Clarence Brooks and Co. and depicting a racist, genre scene of an African American man and woman during a winter promenade in the snowy countryside based on Sol Eytinge's "Lover's Quarrel-Now, Blanche, Don't" originally published in Harper’s Weekly in 1879. In the left, a man stands with his arms stretched down, palms out, and his eyes pointed to a woman to the right. He says "now, Blanche, don't!" The woman, her back turned to the man, walks away. The man is attired in knee-length black boots; yellow pants; a rumpled, green coat; blue scarf; top hat; and gloves. The woman is attired in black boots; a blue dress with a straight skirt and pink sash that billows behind her waist; white fur vest; and a short-brimmed, black hat with white fur trim and a feather. She holds a white fur muff in one hand and lifts the bottom of her dress up in the other. In the distant background is a house and trees. 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.2017.95.27]

Title: Edwin C. Burt, fine shoes. Presented by Chas. T. Croft, Little Falls, N.Y
Description: Trade card promoting shoemaker Edwin C. Burt and depicting a racist, whimsical scene of two African American boys carrying a white girl in a “sedan chair” in the shape of a shoe. In the left, a boy attired in red, sarong-like shorts holds the red, back handles of the sedan over his shoulders. In the right, a boy attired in yellow, sarong-like shorts with black stripes holds the red, front handles over his shoulders. The girl sits with her legs stretched out. She is attired in a red headband that wraps around her brown hair styled in a bun; a yellow, short-sleeved dress with a white collar and blue stripes at the sleeves and around the bottom; and a gold bracelet. She holds a matching yellow and blue fan, possibly of peacock feathers. The sedan chair is depicted as a black woman's dress shoe with a heel and is adorned with a red bow at the front with a gold and diamond circular embellishment. A red canopy with green fringe trim attached to the back of the shoe shields the girl. In the background, mountains and a pink sky are visible. Edwin C. Burt (1818-1884) began his career in boot and shoemaking with his father in Hartford, Connecticut in 1838. He moved his business to New York City in 1848 and founded Edwin C. Burt & Co. in 1860. He patented an improvement to increase his shoes' durability in 1874., Title from item., Place of publication deduced from place of operation of advertised business., Date deduced from history of the advertised business., Text on the recto: Over., Advertising text printed on verso: Chas. T Croft, dealer in boots, shoes and rubbers, Little Fall, N.Y. Has a choice line of Burt's goods, manufactured expressively for him by Edwin C. Burt, New York. Caution: the genuine Burt shoe has the name Edwin C. Burt stamped in full on the lining and sole of e[ach] shoe, and are warranted. Over., Contains Edwin C. Burt trademark on verso depicting an ornament composed of an illustration of a circle of exposition seals where Burt had won awards, including the 1876 Centennial in Philadelphia., Gift of David Doret., Library Company holds a duplicate copy with a variant verso [P.2017.95.20].
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Burt [P.2017.95.19]

Title: Carr & Murray, carpets, furniture & bedding, 61 & 63 Myrtle Avenue. Three doors from Jay Street, B[rooklyn]
Description: Racist trade card promoting Carr & Murray, dealers in household furnishings, and depicting trompe l'oeil image with an African American boy portrayed with exaggerated features and bust length. The boy is depicted by pulling down the left corner of the card. He points at a partially-visible rabbit who hops away in the lower right. The boy is attired in white hat and a blue shirt with a red and white striped collar. James J. Carr and Lindley H. Murray of Carr & Murray owned a store selling household furnishings at 61 & 63 Myrtle Avenue in Brooklyn, N.Y. from circa 1879 to circa 1891., Title from item., Place of publication deduced from place of operation of advertised business., Date deduced from the history of the advertised business and visual content., Right edge of the card is trimmed., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Carr & Murray [P.2017.95.23]

Title: Granite floor paint. Manf'd only by Acme white lead & color works, Detroit, Mich
Description: Trade card containing two panels and depicting a contrived, racist scene of two African American women domestics talking to each other from the kitchens of the respective, separate homes in which they work. The women are portrayed with caricaturized features and speak in the vernacular. They are attired in head coverings, sheath dresses with rolled-up sleeves, aprons, stockings, and slipper shoes. The depicted kitchens contain a sink, pans stored on hooks or a shelf, and a stove. In the left panel, the woman frowns and holds a kettle in one hand and the side of her skirt in the other. She stands "like a monument" on a floor "painted tree days now" and marked with her footprints. In the background, a white man, his mouth open in a shocked expression, and attired in a suit opens the door to the kitchen. In the right panel, the woman dances with one leg raised and her hands on her hips on a floor with "hard 'nuf" Granite Paint. In the background, a smiling white man attired in a suit looks on behind an open door to the kitchen. Separating the panels is a column of red cans labeled "Granite Floor Paint." Acme White Lead and Color Works was incorporated in Detroit in December 1884, by H. Kirke White, A.E.F. White, and W.L. Davies. In March 1920, Sherwin-Williams of Cleveland purchased the company and renamed the brand Acme Quality Paints. The firm continued under that name into the 21st century., Title from item., Text printed on recto: G'way chile! Dis floor been painted tree days an now I'se stuck fas' like a monument, why dont you use de Granite Paint? Law sakes only painted las' night and dat Granite Paint am hard 'nuf dis mawnin fur a breakdown., Advertising text printed on verso: Granite Floor Paint. You have undoubtedly in your experience, had an occasion to paint a floor, steps or a piazza. If such is the case, the chances are that you realize that the same paint used for painting the exterior of houses will not answer to paint floors, yet up to the time we invented the Granite Floor Paint that was what must be used. There are three great faults with the paints heretofore used, namely: First, they require a long time to dry, which causes great inconvenience; second, they never dry perfectly hard, and consequently will not wear; third, cold water will stain, hot water blister, and soap will to a certain extent remove them. After many long and costly experiments we succeeded in perfecting the Granite Floor Paint, and present it to the public with the assurance that it has none of the above faults. It is sure to become as great a favorite as our other popular specialty, "Neal's Carriage Paint," which is prepared ready for use in eight beautiful colors, and renders the re-painting of a buggy possible at a cost of not to exceed one dollar. Acme White Lead and Color Works, Sole Manufacturers, Detroit, Michigan., Distributor’s name on verso: For sale by Thorne & Rogers, Troy, N.Y., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Acme [P.2017.95.1]

Title: The Universal clothes wringer
Description: Metamorphic trade card promoting the American Wringer Company's Universal Wringer. Depicts a racist "before and after" scene with and without the product. The before scene shows an African American laundress "Dinah" wringing clothes by hand over a tub. She states in vernacular speech that "de wringing am awful." A white woman chastises her to "look at these torn clothes." She holds up a square shaped cloth with tears. A clock is visible in the background. The women are shown as bust-length. Dinah wears a kerchief, an open collared shirt, and her sleeves are rolled up. The after scene shows a smiling "Dinah," wringing laundry with a "Universal" clothes wringer under the happy gaze of her employer. The women reach a hand out to one another. Dinah wears a high ruffled collar shirtwaist with a bow at her neck, long sleeves, an apron, and kerchief. A clock rests on a sideboard in the background. The American Wringer Company was established about 1861 and operated until at least the early 20th century. The company often provided a clock as a premium to purchase their laundry equipment., Title from item., Date inferred from attire of figures depicted., Text printed on recto: Oh mistis de wringing am awful, always tear de clothes 'spect dat I neber get through. What Dinah, six o'clock and not done yet! And look at these torn clothes. "What Dinah! Finished washing so soon! Why it's only three o'clock." "Hi golly! Mistis, been done dese two hours dis chile hab no more trouble, since you done got dis wringer. Neber tear de clothes neder., Advertising text printed on verso: The Universal Wringer has the following points of superiority. 1. Rolls of solid white rubber. 2. Rowell's double cog-wheels. 3. Two independent pressure screws. 4. Double cogs at both ends of each roll. 5. Folding apron or clothes guide. 6. Rocking springs of wood and rubber., Distributor's name on verso: J. Russell & Co., Dealers in hardware, carpenters' and machinists' tools, 23 Dwight and 23 Race Streets, Holyoke, Mass., Gift of David Doret., Library Company holds a duplicate copy with a variant distributor [113420.D].
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection -American [P.2017.95.6]

Title: Kendall's Spavin Cure
Description: Trade card promoting B.J. Kendall Company, manufacturer of proprietary medicine, and depicting a racist caricature of an African American man jockey portrayed with exaggarated features. Shows the jockey at the reins of a brown race horse running at full speed, its legs lifted off the ground, and two of its shoes flying through the air. The jockey grips the reins of the horse over which he is prone and suspended above. He exclaims in the vernacular, "I only ’plied jist six bottles of Kendall’s Spavin Cure...so he can go in 2:05 3-8. Gwine to put on two bottles more, and den he can go in jist 1:51 7-16." The jockey is attired in a red buttoned jacket and red plaid pants. His red and white striped jockey's cap and one of his black boots have flown off and trail behind him. In the background a wooden fence lines the grounds. An African American man with exaggarated features attired in blue pants and a red plaid shirt and with his mouth open and arms raised in alarm stands within the entryway to the fence. A wooden sign posted on the fence reads, "2.05 3/8." Burney James Kendall (1845-1922) founded the B.J. Kendall Company in Enosburg Falls, Vermont in 1879. Kendall Company was incorporated in 1883. The success of Kendall's Spavin Cure spurred the firms line of products to expand to proprietary medicines for other animals in addition to people. The Company declined and closed in 1957 following the invention of automobiles., Title from item., Date deduced from the history of the advertised business and genre of print., Text printed on recto: "Hi! Dat hoss can jist fly now. I only 'plied jist six bottles of Kendall's Spavin Cure, and it hab taken off all dem four ringbones, two spavins, one curb, two splints, one capped hock and a shoe bile, so he can go in 2:05 3-8. Gwine to put on two bottles more, and den he can go in jist 1:51 7-16. Dat boy nebber shall fly wid dat hoss agin, for he am liable to fly off de track if he 'creases dat speed.", Copyright secured., Advertising text printed on verso: Kendall's Spavin Cure. The great success which has attended the introduction of Kendall's Spavin Cure, in all parts of the United States, has never been equalled, and it is now considered by the very best veterinary surgeons and most extensive horse-owners in the country to be the greatest discovery in veterinary science of the nineteenth century. It is giving the very best of satisfaction wherever urged. A few reasons why: 1. It does not blister or cause any sore, which makes it a desirable liniment for man or beast. 2. It is sure in its effect. 3. It cures spavins, splints, ring-bone, curb, callous, sprains, swellings, galls, lameness, from whatever cause, in any part of the body or limbs. 4. As a household liniment it has no equal. Its effect on human flesh is marvellous. It is used with the most gratifying results in all cases of lameness or any deep-seated pains, such as rheumatism, neuralgia, corns, bunions, frost bites, felons, chillblains, burns or any pain, bruise, cut or lameness which are not affected in the least by ordinary liniments. Kendall's Spavin Cure. Kendall's Spavin Cure, refined expressively for Human Flesh, in red wrappers, price $.50. Kendall's Spavin Cure, in light wrappers, for Animals, price $1.00. The Spavin Cure in light wrappers can be used on human flesh with perfect safety, if desired. B.J. Kendall & Co., Proprietors. Enosburgh Falls, Vt., U.S.A. Sold by all druggists., Testimonial printed on verso: Harrisburg, Pa., Nov. 13, 1880. Dr. B.J. Kendall & Co., Gents: -- I have a very fine mare that has had a bone spavin for a long time. I tried everything man could devise to cure it, but all in vain, and was about to give it up, when a friend of mine in this city came to me and recommended Kendall's Spavin Cure, which I tried with grand results, removing that bone clear and clean; and then I sent twenty-five cents to you for one of your Illustrated Horse Books, and I think there is no better book printed on the horse and his diseases. I have taken great interest in it, and have since sold eighteen copies for you to my neighbors, and will try and do what good I can by getting them for others. Yours truly, G.W. Miller., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - BJ Kendall [P.2017.95.10]

Title: Kendall's Spavin Cure
Description: Trade card promoting B.J. Kendall Company, manufacturer of proprietary medicine and depicting a racist caricature of an African American man jockey portrayed with exaggerated features. The jockey sits atop a brown, galloping racehorse. He is attired in a red buttoned jacket, red and white striped pants and hat, and black boots. In the left, an African American groomsman portrayed with exaggerated features and attired in white pants and a collared yellow shirt with black dots, and black shoes, stands with one hand raised and another holding a white towel. He speaks in the vernacular that he "nebber will let dat pickaninny ride dat yar hoss agin unless he stops usin' Kendall's Spavin Cure." In the background, a fence marked in red writing "Kendall's Spavin Cure" runs alongthe track. In the right, behind the fence, a white man in a lookout tower holds out his arm and shows a paper marked, "4.17 1/4." Burney James Kendall (1845-1922) founded the B.J. Kendall Company in Enosburg Falls, Vermont in 1879. Kendall Company was incorporated in 1883. The success of Kendall’s Spavin Cure spurred the firms line of products to expand to proprietary medicines for other animals in addition to people. The Company declined and closed in 1957 following the invention of automobiles., Title from item., Date deduced from the history of the advertised business and the genre of print., Text printed on recto: "Golly! I nebber will let dat pickaninny ride dat yar hoss agin unless he stops usin' Kendall's Spavin Cure, 'cause it limbers him up so. In all my 'sperience in the hoss line I nebber seed sich 'provement in an animile afore. Facts am stranger dan friction." Advertising text printed on verso: Kendall's Spavin Cure. The most successful remedy ever discovered, as it is certain in its effects and does not blister. Also excellent for human flesh. Read proof below., Testimonial printed on verso:From Col. L.T. Foster. Youngstown, Ohio, May 10, 1880. Dr. B.J. Kendall & Co., Gents: I had a very valuable Hambletonian colt which I prized very highly; he had a large bone spavin on one joint and a small one on the other, which made him very lame. I had him under the charge of two veterinary surgeons who failed to cure him. I was only one day reading the advertisement of Kendall's Spavin Cure in the Chicago Express. I determined at once to try it, and got our druggists here to send for it; they ordered three bottles; I took them all and thought I would give it a thorough trial; I used it according to directions, and the fourth day the colt ceased to be lame, and the lumps have disappeared. I used but one bottle and the colt's limbs are as free from lumps and as smooth as any horse in the state. He is entirely cured. The cure was so remarkable that I let two of my neighbors have the remaining two bottles, who are now using it. Very respectfully, L.T. Foster. Kendall's Spavin Cure on Human Flesh. Waterloo, Ind., Sept. 7, 1881. Boyer & Campbell, Gentlemen: The bottle of Kendall's Spavin Cure I purchased of you has cured me of a very lame back, (after using almost everything else) the relief was almost instant. I put only a very little on at a time and rubbed it in well. I consider it the best liniment for man or horse extant. I would not do without it for ten times the amount it costs. Yours truly, Hiram Leib., Testimonial printed on verso: Wilton, Minn., Jan. 11, 1881. B.J. Kendall & Co., Gents: Having got a horse book of you by mail a year ago, the contents of which persuaded me to try Kendall's Spavin Cure on the hind leg of one of my horses, which was badly swollen and could not be reduced by any other remedy. I got two bottles of Kendall's Spavin Cure of Preston & Ludduth, druggists of Waseca, which completely cured my horse. about five years ago, I had a three years old colt swelled very bad. I used your remedy as given in your book without rowelling, and I must say to you credit that the colt is entirely cured, which is a surprise not only to myself, but also to my neighbors. You sent me the book for the trifling sum of twenty-five cents, and if I could not get another like it, I would not take twenty-five dollars for it. Yours truly, Geo. Mathews. Kendall's Spavin Cure is put up in two sizes. Refined, expressively for human flesh, in red wrappers, price $.50. In light wrappers, for animals, price, 1.00. That in light wrappers can be used with perfect safety on human flesh, if desired. B.J. Kendall & Co., Proprietors, Enosburg Falls, Vt., U.S.A. Sold by all druggists., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - BJ Kendall [P.2017.95.11]

Title: Granite floor paint. Manf'd only by Acme white lead & color works, Detroit, Mich
Description: Trade card containing two panels and depicting a contrived, racist scene of two African American women domestics talking to each other from the kitchens of the respective, separate homes in which they work. The women are portrayed with caricaturized features and speak in the vernacular. They are attired in head coverings, sheath dresses with rolled-up sleeves, aprons, stockings, and slipper shoes. The depicted kitchens contain a sink, pans stored on hooks or a shelf, and a stove. In the left panel, the woman frowns and holds a kettle in one hand and the side of her skirt in the other. She stands "like a monument" on a floor "painted tree days now" and marked with her footprints. In the background, a white man, his mouth open in a shocked expression, and attired in a suit opens the door to the kitchen. In the right panel, the woman dances with one leg raised and her hands on her hips on a floor with "hard 'nuf" Granite Paint. In the background, a smiling white man attired in a suit looks on behind an open door to the kitchen. Separating the panels is a column of red cans labeled "Granite Floor Paint." Acme White Lead and Color Works was incorporated in Detroit in December 1884, by H. Kirke White, A.E.F. White, and W.L. Davies. In March 1920, Sherwin-Williams of Cleveland purchased the company and renamed the brand Acme Quality Paints. The firm continued under that name into the 21st century., Title from item., Text printed on recto: G'way chile! Dis floor been painted tree days an now I'se stuck fas' like a monument, why dont you use de Granite Paint? Law sakes only painted las' night and dat Granite Paint am hard 'nuf dis mawnin fur a breakdown., Advertising text printed on verso: Granite Floor Paint. You have undoubtedly in your experience, had an occasion to paint a floor, steps or a piazza. If such is the case, the chances are that you realize that the same paint used for painting the exterior of houses will not answer to paint floors, yet up to the time we invented the Granite Floor Paint that was what must be used. There are three great faults with the paints heretofore used, namely: First, they require a long time to dry, which causes great inconvenience; second, they never dry perfectly hard, and consequently will not wear; third, cold water will stain, hot water blister, and soap will to a certain extent remove them. After many long and costly experiments we succeeded in perfecting the Granite Floor Paint, and present it to the public with the assurance that it has none of the above faults. It is sure to become as great a favorite as our other popular specialty, "Neal's Carriage Paint," which is prepared ready for use in eight beautiful colors, and renders the re-painting of a buggy possible at a cost of not to exceed one dollar. Acme White Lead and Color Works, Sole Manufacturers, Detroit, Michigan., Distributor’s name on verso: For sale by Thorne & Rogers, Troy, N.Y., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Acme [P.2017.95.1]

Title: Dixon's carburet of iron stove polish
Description: Trade card promoting Joseph Dixon Crucible Company's stove polish and depicting a racist caricature of an African American woman nanny at work. Shows the nanny smiling, holding, and scrubbing an unclothed white girl, who is coated in black stove polish along her right side. The long, brown haired girl wears a red headband and is partially covered by a white cloth draped around by the nanny. The nanny uses a scrub brush under the right arm of the girl. The girl stands, her right leg raised, upon a table covered with a yellow tablecloth and stained by the polish. She looks down and touches the nanny's face with her right hand. She places her left hand over the woman's hand on her left side. The nanny is attired in a white head kerchief with red polka dots; a yellow short-sleeved shirt with red stripes; and a blue skirt. On the table is a plate; a brush; and boxes labeled Dixon's Stove Polish. Image also includes, in the left background, a stove with a steaming copper kettle and a partial view of a stove pipe and checkered flooring. The Joseph Dixon Crucible Company, established by Joseph Dixon in Salem, Mass. in 1827, produced graphite pencils, crucibles and stove polish, and relocated to Jersey City, N.J. in 1847. In 1868, the firm name changed from Joseph Dixon & Co. to the Jos. Dixon Crucible Co. In 1870 the firm won a trademark case against a Philadelphia competitor selling J.C. Dixon Stove Polish., Title from item., Date deduced from history of the advertised business., Advertising text printed on verso: Established 1827. Dixon's stove polish; over fifty years in the market. Neat; quick; brilliant, and lasting. No dust. No odor. Nothing will make a stovd (sic) so bright and cheerful for so long a time as the Dixon stove polish. It is by far the cheapest in use, in the long run. Buy it. Try it. Take no other. Pressed into a neat quarter-pound packet, absolutely free of adulteration. Six millions sold in 1881. Jos. Dixon Crucible Co., Jersey City, N.J., Gift of David Doret., Library Company holds duplicate copies [1975.F.235; P.9577.14; P.9599].
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Dixon [P.2017.95.44]

Title: Dixon's carburet of iron stove polish
Description: Trade card promoting Joseph Dixon Crucible Company's stove polish and depicting a racist caricature of an African American woman nanny at work. Shows the nanny smiling, holding, and scrubbing an unclothed white girl, who is coated in black stove polish along her right side. The long, brown haired girl wears a red headband and is partially covered by a white cloth draped around by the nanny. The nanny uses a scrub brush under the right arm of the girl. The girl stands, her right leg raised, upon a table covered with a yellow tablecloth and stained by the polish. She looks down and touches the nanny's face with her right hand. She places her left hand over the woman's hand on her left side. The nanny is attired in a white head kerchief with red polka dots; a yellow short-sleeved shirt with red stripes; and a blue skirt. On the table is a plate; a brush; and boxes labeled Dixon's Stove Polish. Image also includes, in the left background, a stove with a steaming kettle and a partial view of a stove pipe and checkered flooring. The Joseph Dixon Crucible Company, established by Joseph Dixon in Salem, Mass. in 1827, produced graphite pencils, crucibles and stove polish, and relocated to Jersey City, N.J. in 1847. In 1868, the firm name changed from Joseph Dixon & Co. to the Jos. Dixon Crucible Co. In 1870 the firm won a trademark case against a Philadelphia competitor selling J.C. Dixon Stove Polish., Title from item., Date deduced from history of the advertised business., Advertising text printed on verso: 57 years in market Dixon's pure carburet of iron. Stove polish. The oldest. The best. The quickest. The neatest. Ask your grocer for it., Gift of David Doret.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Dixon [P.2017.95.45]

Title: Bloch. Bros. West Virgina mail pouch tobacco I tell you breddern, it pays you to read erbout W.V.A Mail Pouch terbacker on de oder side dis yer card
Description: Trade card promoting the Bloch Brothers' chewing tobacco. Depicts a racist caricature of an older African American man tobacco peddler portrayed with exaggerated features and selling his product in a clumsy manner on a stage. He looks flabbergasted, stands behind a small table with two leaves drawn open, and holds a green umbrella over his head with his right hand. He holds the top of the table with his other hand while a pitcher, cup of water, and a lit candle in a candlestick fall off of the table or fly in the air. An illustrated package of "Bloch Brothers' Mail Pouch Tobacco" falls toward the audience. On the stagefloor in front of the table is a brown bottle with a lit candle, a hurricane lantern, a candle in a candlestick, and a brimmed hat. Behind the salesman in the right is an open bag with a boot and clothes spilling out. A clock hangs on the back wall. In the foreground, the backs of four men’s heads in the audience are visible. The white-haired salesman is attired in a red, plaid suit; a red tie waving in the air; white collared shirt; black boots; and spectacles. Brothers Aaron and Samuel Bloch founded the Bloch Brothers Tobacco Company in Wheeling, West Virginia in 1879 by manufacturing cigars. They created Mail Pouch chewing tobacco by flavoring and packaging leftover cigar clippings. Bloch Brothers was sold in 1969 to the General Cigar and Tobacco Company, which became a division of Culbro in 1978. The Company was acquired by the Helme Tobacco Company in 1983 and later changed its name to Swisher International. Swisher continues to produce Mail Pouch tobacco into the 21st century., Title from item., Date inferred from the history of the advertised business and the attire of figures depicted., Distributor's imprint stamped on verso: Jacob G. Shirk, 886 N. Christian St., Lancaster, PA., Stamp partially visible on recto: Note: [?] Jacob Shirk, [308?] N. Christian Street., Advertising text printed on verso: To consumers of smoking and chewing tobacco: There has for years been a demand for a superior smoking tobacco, something cheap and meritorious, reverse from most brands, which are only manufactured for the profits derived by the manufacturer and the dealer, with no satisfaction to the consumer. It is a reform in Tobaccos, no stems to smoke nor mysterious compounds to chew. The qualities that recommend "Mail Pouch" Tobacco strongest as an article of merit, are:-- 1st. That it is a combination of Long Cut manipulated Virginia, Kentucky, Connecticut and Pennsylvania Leaf, by our own and original process, which makes it a cool smoke and a lasting chew. 2nd. In cheap tobaccos the smoker has been so long dosed with doctored, perfumed stuff, flattened stems mixed in with common Tobacco, to get something free from noxious flavorings and adulterations, is a result that must be appreciated. 3d. We claim that it is, without exception, the best and cheapest Tobacco ever offered to the consumer. The popularity of the W. Va. Mail Pouch Smoking and Chewing Tobacco is sufficient recommendation. It has attained its success and demand on its merits and sterling worth, it therefore has many imitators, but no equal. Bloch Bros., M'f'rs, Wheeling, W.Va., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Bloch [P.2017.95.15]

Title: Edwin C. Burt, fine shoes
Description: Trade card promoting shoemaker Edwin C. Burt and depicting a racist, whimsical scene of two African American boys carrying a white girl in a “sedan chair” in the shape of a shoe. In the left, a boy attired in red, sarong-like shorts holds the red, back handles of the sedan over his shoulders. In the right, a boy attired in yellow, sarong-like shorts with black stripes holds the red, front handles over his shoulders. The girl sits with her legs stretched out. She is attired in a red headband that wraps around her brown hair styled in a bun; a yellow, short-sleeved dress with a white collar and blue stripes at the sleeves and around the bottom; and a gold bracelet. She holds a matching yellow and blue fan, possibly of peacock feathers. The sedan chair is depicted as a black woman's dress shoe with a heel and is adorned with a red bow at the front with a gold and diamond circular embellishment. A red canopy with green fringe trim attached to the back of the shoe shields the girl. In the background, mountains and a pink sky are visible. Edwin C. Burt (1818-1884) began his career in boot and shoemaking with his father in Hartford, Connecticut in 1838. He moved his business to New York City in 1848 and founded Edwin C. Burt & Co. in 1860. He patented an improvement to increase his shoes' durability in 1874., Title from item., Place of publication deduced from place of operation of advertised business., Date deduced from history of the advertised business., Text on the recto: Over., Advertising text on verso: Caution to the public. Ladies', misses' and children's genuine Burt's shoe has the name stamped in full on the lining of each shoe, thus: Edwin C. Burt Maker New York. Also, on the bottom of each shoe, thus: Edwin C. Burt New York. And are warranted to give satisfaction. Call for them. If these goods are not to be obtained in your [?] [plea]se write us and we will advise where [?] be found. Edwin C. Burt, New York., Gift of David Doret., Library Company holds a duplicate copy with a variant verso [P.2017.95.19].
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Burt [P.2017.95.20]

Title: Clark's trade mark 36 Mile-End spool cotton
Description: Trade card promoting Clark Thread Company and depicting a racist caricature of an African American man minstrel drummer. Shows the man, in near profile, smiling and beating drumsticks on a drum strapped to his chest. The drum is a giant spool of thread labeled "Clark's Mile-End spool cotton." He is attired in black shoes; blue pants with a yellow stripe; a white jacket with pink flowers and long tails, with large buttons; a white ruffled shirt with a high collar; and a white top hat with a black band. The George A. Clark & Brother Company, manufactory of embroidery and sewing thread, was founded in 1863 in Newark, N.J. The firm was renamed Clark & Co. in 1879, and in the 1880s created a six-cord, soft finished thread called "Our New Thread" or "O.N.T." The business merged with J. & P. Coats in 1896, which lead to a series of mergers with fourteen other companies. Into the 21st century, the company continues to manufacture thread under the name Coats & Clark., Title from item., Date deduced from history of the advertised business., Advertising text printed on verso: Clark's trademark Mile-End spool thread. Best six cord. All numbers from no. 8 to 100. The colors are especially dyed to match. All shades of dress goods and can be used instead of silk by dress makers and families. The black is strong and smooth, and of the purest dye. It will retain its very deep black hue as long as silk fabrics. The white, black and colored is the standard for use upon all sewing machines., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Clark [P.2017.95.32]

Title: Finnerty's, the champion of all root beer extracts, 15c. per bottle. 106 Market Street
Description: Racist trade card promoting E.J. Finnerty Jr. & Co.'s patent medicines and depicting a crying African American baby that is suspended from a tree branch. In the center of the image is a baby, attired in a white onesie, that has a white cloth wrapped around their midsection and tied to a blooming cherry tree branch. The baby's eyes are tightly closed, their mouth is open wide, and they grasp a branch of cherry blossoms with their left hand. A straw hat also is on the tree branch. E.J. Finnerty (1863-1901) was a druggist in Philadelphia. He created the firm Finnerty, McClure & Co. in 1891 and continued in the trade until his death., Title from item., Advertising text printed on verso: Go to the old reliable drug store, 106 Market St. Philadelphia, for pure drugs and medicine at the lowest prices. We make a specialty of compounding Physicians' Prescriptions, with great care and promptness. A full line of Perfumes and Toilet Articles always on hand. We will also continue the manufacture and sale of the following well-known and highly recommended remedies: Finnerty's W.C.&H. Expectorant, . Per bottle. Price, 25c. The best remedy for coughs, colds, etc. Finnerty's Beef, Iron and Wine, ... " 50c. The great nutritive tonic. Finnerty's Sarsaparilla, ..." 50c. The best blood purifier. Penn's White Linament, ... 25c. The great rheumatic remedy. Finnerty's Essence Ginger, ... " 25c. The reliable remedy for colic, nausea and debility. Finnerty's Cramp and Diarrhoea Mixture, ... " 25c. A sure cure for cholera morbus and stomach troubles. Finnerty's Liver Granules, ... " 25c. No better in the markey. Finnerty's Catarrh Remedy, ... Per Box 25c. Will cure catarrh, cold in the head and hay fever. Michner's German Dyspepsia Lozenges, ... " 50c. The greatest remedy known for the cure of dyspepsia. E.J. Finnerty, Jr. & Co. Druggists and Manufacturing Chemists., Gift of David Doret.
Date: [1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Finnerty [P.2017.95.63]

Title: G.F.H. Guth, dealer in first class pianos, organs, sewing machines and musical merchandise
Description: Racist trade card promoting G.F.H. Guth's musical instruments retail store and depicting a caricature of an African American man on a farm with a horse-drawn plow driven and guided by dogs. Shows an African American man, attired in a hat, an orange plaid collared shirt, black pants, and black shoes, holding a whip and overseeing plowing on a farm. In the center is a team of two white horses pulling a plow. On top of the plow is a large, black dog wearing a collar and holding the reins to the horses in his mouth. Numerous lines of furrows can be seen in the ground. In front of the plow, a small, white dog wearing a collar guides the horses. Granville Francis Hiram Guth (1860-1939) owned a store in Allentown, Pa. selling pianos, organs, and musical instruments and also worked as a job printer. His store appears in the directories in the late 1880s to 1890s., Title from item., Place of publication inferred from place of operation of advertised business., Date deduced from history of the advertised business., Advertising text printed on verso: [Only] first-class makes on hand. No poor ones [in stock.] [Speci]alties. Behr Bros. Pianos. Farrand & Votey Organs. [Standard Rotary Shuttle Sewing Mach’s. 830] Ham[ilton St. All]entown [PA.], Text printed on the verso has been torn and damaged., Guth's imprint is stamped on recto: G.F.H. Guth, Music dealer, 830 Hamilton St., Allentown., Distributor’s imprint printed on verso: D.D. Halman, Salesman., Series number printed on the recto: 468., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Guth [P.2017.95.76]

Title: Warner's Safe Yeast. Up with the sun
Description: Racist trade card promoting Warner’s Safe Yeast and depicting a white mother with a sick infant and an African American woman nanny who suggests using Warner’s yeast. Shows the mother with her brown hair tied up in a bun and attired in a long-sleeved, striped pink dress with yellow pleats at the bottom and white lace at the collar and cuffs of the sleeves. She cradles in her arms an infant wrapped in a white blanket with two yellow stripes. She looks down at her son standing in the right. He is attired in an orange, long-sleeved shirt with a white collar, a yellow skirt and leggings, and black shoes. He asks, “Mamma, what’s the matter with baby?” She replies that, “Baby’s very sick.” The boy holds up a cannister labeled “Safe Yeast” and states, “Dinah says Warner’s Safe Yeast is the best thing she knows of, to raise him.” In the right, Dinah stands looking on, attired in a yellow bonnet, red earrings, a yellow, short-sleeved dress with a white collar and red tie, and a white apron. In the bottom right is a large cannister of Warner’s Safe Yeast. Image also includes a blue and green rug, fireplace andirons, and in the background a windowpane with a blue vase with yellow flowers. Outside the window the sun comes up and reads, “up with the sun.” Hulbert Harrington Warner (1842-1923) founded a patent medicine business in Rochester, N.Y. in 1878. He created Warner’s Safe Yeast in 1885. In the Panic of 1893, he was unable to cover the company's debts, and the business failed., Title from item., Date deduced from the history of the advertised business., Text printed on recto: Precocious Youngster: Mamma, what’s the matter with the baby? Mamma: Ah, Darling, Baby’s very sick, I’m afraid we won’t be able to raise him. Precocious Youngster: Try this Mamma, Dinah says Warner’s Safe Yeast is the best thing she knows of, to raise him., Gift of David Doret.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Warner [P.2017.95.187]

Title: Minstrel show. Wentworth Town Hall. March 26th - 8:15. Adults .25. Children .15. Orchestra - dancing
Description: Mixed media poster containing a clipped, bust-length, racist caricature depicting "N.D. Johnson" above manuscript text promoting a minstrel show, probably in Wentworth, N.H. Clipped image shows a man in black face, with an exaggerated broad smile, and looking to the left with his eyes. He wears a top hat, red bow, a white shirt with wide lapels and a "shiny" star-shaped pin at the chest, and a tuxedo jacket., Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes., Title from item., Date inferred from content., Contains pasted, clipped photomechanical print captioned: N.D. Johnson., C. Belyea is possibly Charles Moses Belyea (1904-1980) of Grafton, New Hampshire., RVCDC, Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021.
Creator: Belyea, C.
Date: [ca. 1925]
Location: Library Company of Philadelphia | Print Department *GC - Advertisements - Minstrel [P.2022.57.2]

Title: " Creme" oat meal toilet soap
Description: Incomplete series of trade cards, including duplicate and variant imagery with the same series number, to promote "Crème" toilet soap manufactured by J.D. Larkin & Co. Depicts racist, anthropomorphic chimpanzee figures in social situations and leisure and cultural activities., Series no. I (variant 1) depicts a man and woman as well-dressed anthropomorphized chimpanzees greeting each other. In the left, the man attired in a black top hat, blue jacket, and checkered yellow pants, nods his head to the left and holds up his walking stick. In the right, the woman, her back to the viewer, is attired in a yellow bonnet adorned with flowers and a ribbon, and a long-sleeved green dress with a pink belt at the waist and a bow at the bustle. She lifts up her skirt and exposes her slip. Series no. I (variant 2) depicts an anthropomorphized chimpanzee as a man artist. He rests back on his chair, and holds a palette in one hand, and a paint brush in the other. He sits in front of an easel and canvas. He is attired in a green-colored smock shirt with collar and buttons, yellow pants, and brown laced shoes. His eyelids droop down and his mouth is slightly ajar., Series no. II depicts an anthropomorphized chimpanzee as a man hunter. He stands in front of a section of tall grass and holds a clutch of birds in his left hand and a shot gun under his right arm. He is attired in a hunting cap, red jacket, tan pants, and black high boots. Leather straps are criss-crossed over his chest. Series no. III depicts an anthropomorphized chimpanzee as a man fishing at a dock. The man hangs his legs over a pier and holds a pole into the water. A basket of fish lays beside him. He wears a wide-brimmed hat, a brown jacket with the collar turned up, and blue checkered pants. The backs of two other anglers are visible in the left background. Series no. IV (2 copies) depicts anthropomorphized chimpanzees as a man and woman couple on promenade. The woman, in the left, is attired in a yellow bonnet, a yellow, three-quarter length sleeved dress with ruffling down the front and ruching on the skirt, and white gloves. She holds a fan by her left cheek, looks to her left, and lifts up the skirt of her dress and shows the edge of her slip. To the right, the man smiles and looks over her shoulder. He is attired in a bowler, red jacket, and grey-striped pants and holds a walking stick up under his arm., Series no. VI depicts anthropomorphized chimpanzees as a man and woman couple getting married by a clergyman. The couple, their backs to the viewer, stand to the left of the clergyman attired in his ceremonial robes. The man wears a suit with a long jacket. The woman wears a white wedding dress with a veil adorned with floral ornaments. The dress is composed with ruched sleeves, and adorned with pink bows and ribbons. The figures all have solemn expressions. J.D. Larkin & Co. was founded in 1875. By 1881 the soap company included over 100 factory workers and sustained specialized departments for advertising and shipping, as well as solicited to door-to-door private residences in addition to shopkeepers. Trade cards with the company logo were included with each box of soap. By 1885 the firm only directly sold their products to residential customers and was known for their premiums. The company was sold in 1941 and continued as a mail-order business until 1962., Title from items., Date, publisher, and manufacturer (printer) from copyright statements on prints: Copyright J.D. Larkin & Co., Buffalo, N.Y. 1881 and Copyright Clay & Richmond, Buffalo, N.Y. 1881., Majority of prints (P.2020.3.1-4&7) distributed by J.D. Larkin & Co., P.2020.3.5&6 distributed by the People’s Manufacturing Co., Prints include the company logo “J.D. L. & Co., Buffalo, N.Y.” in two designs; one in cursive and the other as a monogram with a central block letter., Includes series numbers: I. (2 variant images); II.; III.; V. (2 copies, same image); and VI., Five of the prints contain variant advertising text on verso. All texts include statement: To Card Collectors.- There are six different designs in this set. We will mail the complete set to any address, on receipt of 3 c./three cent stamp., RVCDC, Description reviewed 2022., Access points revised 2022.
Date: 1881
Location: Library Company of Philadelphia | Print Department trade cards - Larkin [P.2020.3.1-7]

Title: The colored band
Description: Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting African American women and girl spectators reacting to a passing African American marching band. The figures are drawn with racist and caricatured features and mannerisms. Shows in the foreground, two girls and a younger and an older woman, running next to and toward the band, mimicking the band leader, and dancing. The girls and women are barefoot and wear shift dresses of either calf or ankle lengths. The older, running woman (in right) also wears a kerchief. The mimicking girl who stomps and raises her left arm in front of the band leader wears short-cropped hair and is attired in a dress with wornout sleeves (center). The young woman dancing (center) and the running girl (left) wear their hair full and wavy. In the center foreground, the band leader looks past the girl in front of him. He wears a mustache and is attired in a tall, round-top shako with plume and a uniform. The uniform has tassels at the shoulder and a decorative chest plate and pants with a vertical stripe on the outseam. He holds up a mace adorned with an eagle with his right hand. In the background, members of the marching band, attired in caps with plumes and uniforms, play tubas. A line of older African American boys and a girl walks ahead of the band. Two of the children look behind themselves toward the band, including a boy with a look of surprise. During the Civil War, African American brass bands were formed by white commanding officers to promote and increase recruitment of African American soldiers. Following the war, many of the ex-military musicians formed civilian bands associated with quasi-military drill teams, volunteer organizations, and social clubs., Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to be based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower left of original print: Copyright 1881. Mrs. R. Colburn, RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date: 1887
Location: Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.1]

Title: Monday morning or the tender passion
Description: Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting an outdoor wash day. The figures are drawn with racist and caricatured features and mannerisms. Shows, in the background, in the right an African American woman bent over and with her hands in a wash tub. A basin and large ladle rest near the tub. Behind her, a sheet and stockings hang from a clothes line. In the left background, an African American woman, standing on the tops of her toes, pins a sheet to a clothesline. A wooden basket of laundry rests by her feet. A young African American girl with short hair peers at the woman hanging the wash from behind a hanging sheet. The women wear kerchiefs, shirtwaists with the sleeves rolled up, and long pleated skirts with aprons. Between the women, an African American man attired in a panama hat, a shirt, a cross tie, long jacket, and pants, stands, looking to the left and with his left hand on his hip, and holding a cane in his right hand. In the center foreground, two barefoot young African American boys face each other and dance. The boys are attired in long-sleeved blousy shirts and pants. One boy has his back to the viewer. The boy facing the viewer also wears a bucket hat. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn 1877., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date: 1887
Location: Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.2]

Title: The old and the new – “Nothin’ but niggers nohow.”
Description: Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting an older African American woman watching and "judging" a young African American couple walking in a park. The figures are drawn with racist and caricatured features and mannerisms. Shows, in the right, the older woman, attired in a kerchief, coat, shawl, long skirt, and holding a wooden cane, and with a squinted expression looking toward the back of a fashionably-attired couple in the left. The man of the couple to the right of the woman looks down and at his companion whose back is to the viewer. She is attired in a cap, a long winter wrap, and a skirt with a short train. The man wears an imperial mustache and is attired in a cap and a long winter coat. The man and women walk on a path lined with trees and birds peck at the ground. In the far left background, a woman and child attired in winter wear and walking on the path are visible. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn 1881., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date: 1887
Location: Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.3]

Title: Street cries
Description: Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting a group of African American men and boy peddlers at the corner of a city street. The figures are drawn with racist and caricatured features and mannerisms. In the center, a milk peddler stands and hawks with a trumpet in his left hand and a canteen of milk, ladle, and pitcher in his right hand. The man is attired in a wide-brimmed hat, shirtsleeves, pants, and a long apron. To the left, another African American man peddler pushes a large cart of junk wares and looks down at a young African American child running from a dog. The man wears a rumpled top hat, torn shirtsleeves, a vest, and patched pants. The child wears a smock dress and their hat has fallen by the feet of the milk peddler. In the right, a newspaper boy hawks the papers under his right arm. He is attired in a soft-brimmed hat, jacket, and pants. In the far right, a man attired in a hat, a shirt with turned-up collar, a long jacket, and striped pants, holds a bell and has his left leg stepped up on a box. Cityscape, a white woman street vendor at a table, and a horse-drawn cart are visible in the background. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to be based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title printed on mount., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn 1870., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date: 1887
Location: Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.5]

Title: Monday. Monday is de wash day, an I neber sulk or mope, becase de close am nice and clean, by using Higgins' soap
Description: Racist trade card promoting Higgins' soap and depicting a caricature of an African American woman domestic carrying a bar of soap and a wash tub. The woman is portrayed with exaggerated features and speaks in the vernacular. Shows the African American woman with her hair in pigtail braids tied at the ends in white bows, attired in an orange and yellow striped head kerchief, a red and white shawl, a blue dress with black stripes, a white apron with red stripes, orange and white striped stockings, and black shoes. She carries a large, wooden wash tub in her right hand and a yellow bar of soap labeled “Higgin” in her left hand. The woman smiles and walks toward the viewer and says, “Monday is de wash day, an I neber sulk or mope, becase de close am nice and clean, by using Higgins' soap.” In the right, a white shirt hangs on a clothes line pinned with wooden clothespins. The Charles S. Higgins Company, established by Higgins’s father W. B. Higgins in Brooklyn in 1846, manufactured "German Laundry soap" beginning around 1860, when Charles assumed the business. The laundry soap was packaged in a wrapper illustrated with an African American woman washing in a tub. By the early 1890s, Charles S. Higgins left the firm still operated under his name and formed Higgins Soap Company. Court proceedings over trademarks and tradenames ensued and Higgins Soap Company became insolvent by the mid 1890s., Title from item., Date deduced from history of the advertised business., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Higgins' [P.2017.95.82]

Title: W. M. Lyon, jeweler, Chester Depot, V.T
Description: Racist trade card depicting a comic scene showing an African American barber shaving a pig in a barber shop. The barber, in the left,is depicted holding a razor in his right hand and the pig's snout in his left. The man is attired in a white shirt with turned up collar, a black bowtie, a green and white checkered apron, and blue pants. The pig, seated chest out, leans back in the barber's chair. The animal wears a barber's cape. On a table next to the barber is a shaving mug filled with shaving foam and holding a shaving brush. The man is depicted with exaggerated features. W.M. Lyon worked as a jeweler in Chester Depot, Vermont beginning in 1877., Title from item., Date inferred from years of operation of business advertised.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Lyon [P.2017.95.111]

Title: Golden Cottolene, N.K. Fairbanks & Co. Chicago
Description: Racist trade card illustration depicting a short-haired African American girl picking cotton. Surrounding the image are cotton leaves, buds, and bolls. The girl carries a large, overflowing bale of cotton in the skirt of her apron and stands on her left leg while kicking her right leg outward. Visible in the right corner of the image is a tin bucket of Golden Cottolene. The girl is attired in a red and blue striped collared dress, a yellow striped apron, red socks, and black heeled boots. She is depicted with exaggerated features. Golden Cottolene shortening was was manufactured by N.K. Fairbank & Co., which was based in Chicago during the late 19th century and purchased by American Cotton Oil in 1875. The manufacturing plant in Chicago was closed in 1921., Title from item., Advertising text on verso: Directions for using Fairbank's Cottolene. Health! Purity! Economy! Cottolene, the new and popular health food, is rapidly superseding lard and butter as a cooking fat, being healthier, cleaner and more economical. Use in every place and in the same manner that lard and butter is used in cooking, taking only two-thirds (2/3) of the amount that would be required of the above mentioned articles. If more is used it is wasted. For cake making treat in the same manner as butter, i.e., creaming it with sugar, adding a little salt, for Cottolene contains none. For frying put the Cottolene in a cold pan or kettle allowing the fat to gradually come to a cooking point. This will prevent burning. Cottolene reaches a cooking point without any sputtering or smoking and quicker than lard with the same heat, and therefore care should be taken that it does not become too hot. Beware of imitations. The N.K. Fairbank Co. Chicago, St. Louis, New York, Boston, Philadelphia & Montreal. Recipe for New England Doughnuts. 1 cup sugar. 2 eggs beaten light and mixed with the sugar. 2 teaspoonfuls melted Cottolene. 1/2 cup milk. 2 teaspoonfuls baking powder. 1/2 teaspoonful salt. 1 salt-spoonful cinnamon. Flour enough to roll. Add the milk alternately with the flour. Have the kettle three-quarters (3/4) full of Cottolene, hot enough to brown a piece of bread in half a minute, or while you count sixty. Drop in the doughnuts and fry till brown., Gift of David Doret.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - N.K. Fairbanks [P.2017.95.137]

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