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Title: You are my Darling.
Description: A woman in an ornate gown walks her small black dog., Text: You are my darling; don't I know / Why you are ogling ev'ry beau; / But all in vain, for who would be / Led like a puppy tied to thee., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: ASSU Illustration 5915
Description: Block numbered in two places: 5915, also numbered 136 in two places., Image of a man, two children and a dog. The man is looking towards what appears to be a church, but the children are looking at the dog in an outdoor setting., Illustration appears in The thunder-storm (Philadelphia, between 1857 and 1870?), p. 127. This title was listed in American Sunday-School Union catalogues from Jan. 1857 to at least 1870; it was not listed in 1893. Caption of illustration -- "My faithful Plato.", “Church dog” -- inscribed on back of block., “N.J. Wemmer. 5 Pear St. Phila." -- Back of block. Nelson J. Wemmer is listed (as an artist) at this address in Philadelphia city directories from 1848 to 1856., Signed in reverse: VanIngen-Snyder. Van Ingen & Snyder, a partnership between William H. Van Ingen and Henry M. Snyder, was active between 1853 and 1871., Tape (inscribed “Van Ingen Snyder”) on side of block.
Date: [between 1853 and 1856?]
Location: ASSU Woodblocks -- Box 7

Title: ASSU Illustration 6485
Description: Block numbered in seven places (two imprinted, five written): 6485., Image of a girl and a boy leaning over an animal, likely a dog, lying on the ground; there are trees and a house or cabin in the background., “V.W. & Co. [i.e., Vanderburgh, Wells & Co., boxwood dealers] 18 Dutch St. N.Y.” – Back of block., “Harsh words” – Inscribed on side of block.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 13

Title: ASSU Illustration 6107.
Description: Block numbered in one places: 661107 [sic]; corrected in pencil on back: 6107., Image of a woman sitting by a tree with a dog, overlooking a body of water., "Tail Piece Young girl & Dog"-- Inscribed on side of block., Back of block partially obscured by pasted-down paper.
Date: [s.a.]

Title: ASSU Illustration 7202
Description: Block numbered in two places: 7202, also 1006 on small adhesive label on back of block., Image of a stooping elderly man and a small dog facing a girl who is standing or hiding behind a coat hung on a wall hook, perhaps as part of a game., "V. Grottenthaler, 402 Library St Phila." – Back of block. Vincent Grottenthaler is listed (as a dealer in boxwood) at this address in Philadelphia city directories from 1869 to 1876.
Date: [between 1869 and 1876?]
Location: ASSU Woodblocks -- Box 31

Title: With the most ugly of all faces, Go on, and mimic all the graces:
Description: A woman walks her small black dog. She wears an ornate gown, a flowered bonnet, and eyeglasses., Text: With the most ugly of all faces, Go on, and mimic all the graces: / How can you think, when in the street, The laughing, giggling men you meet, / That every laugh is but a smile, And that they love you all the while? / Good-bye, old maid-- without a clog, Go through the mud-heaps with your dog; / I don't know which I like the least, You or your dirty little beast., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: ASSU Illustration 6320.
Description: Block numbered 6320 in three places., Image of seven people, possibly a family, seated around a dining table; the table is set for a meal; a dog is in the foreground., “N.J. Wemmer 215 Pear St. Phila” – Back of block. Boxwood dealer Nelson J. Wemmer is listed at this address in Philadelphia city directories from 1861 to 1876., “A.S.S.U.”—Back of block in three places.
Date: [between 1861 and 1876?]

Title: ASSU Illustration 6928
Description: Block numbered in two places: 6928., Image of a dog reclining next to a tombstone [?] in a natural setting., Signed in reverse: Van Ingen-Snyder [i.e. Van Ingen & Snyder], Van Ingen & Snyder, a partnership between William H. Van Ingen and Henry M. Snyder, was active between 1853 and 1871.
Date: [between 1853 and 1871?]
Location: ASSU Woodblocks -- Box 12

Title: ASSU Illustration 8119
Description: Block numbered in two places: 8119., Image of a young boy in a fenced yard, holding his hat in his hand and regarding a stone that reads “Faithful Plato"., Signed: Scattergood-Howell; the firm is listed in the Philadelphia city directory for 1852.
Date: [1852?]
Location: ASSU Woodblocks -- Box 29

Title: ASSU Illustration 3808
Description: Block numbered in one place: 3308, also 900 on small adhesive label on back of block., Image of a very young girl with short hair holding a dog, perhaps a King Charles Spaniel; she holds a drawing of a dog with one hand.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 24

Title: ASSU Illustration 4137
Description: Block numbered in two places: 4137., Image of a dog reclining in a natural setting, in front of what appears to be a vase., Illustration appears in Stories for little ears (Philadelphia, 1857), p. 6., Illustration also appears in Child's world, vol. 32 no. 10 (1875), p.4.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 4

Title: ASSU Illustration 3616
Description: Block numbered in two places: 3616, also 1356 on small adhesive label on back of block., Image of a bearded man reaching out of a spherical structure which appears to rest on rocks or float on waves; he holds a staff in his other hand; a dog sits on top of the structure; the tail of a kite or similar object also blows out of the opening of the sphere.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 24

Title: A Military Sneak.
Description: The deserter kneels, with a dog in front of him and another dog behind him urinating on him. He holds a tub over his head to protect himself from the poker and the iron which his wife holds., Text: You left the Camp of war and strife, / Expecting quiet with your wife, / But you're assailed, behind, before, / You had better leave for war once more., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: ASSU Illustration 6290
Description: Block numbered in two places: 6290, also 680 on small adhesive label on back of block., Image of a boy standing in front of a bush, removing burrs from his clothing; a dog stands at his side looking at the boy., Illustration appears in Child's world v. 5 no. 5, p. 2.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 25

Title: ASSU Illustration 9203
Description: Block numbered in at least one place: 9203., Image of a reclining dog in an interior setting., Signed: E.F.S. [?], Back of block partially obscured by pasted-down paper.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 4

Title: ASSU Illustration 8769
Description: Block numbered in two places: 8769., Image of a dog, reclining in a natural setting.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 3

Title: ASSU Illustration 3461
Description: Block numbered in two places: 3461., Image of a dog [?] in a mountain setting., Illustration appears in The Peasant and his guest (Philadelphia, 1862), p. 44.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 4

Title: ASSU Illustration 1592
Description: Block numbered in two places: 1592., Image of a dog in profile, in a natural setting, with mountains in the background.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 3

Title: ASSU Illustration 6536
Description: Block numbered in two places: 6536, also 1937 on small adhesive label on back of block., Image of a wolf with mouth slightly open beside a domestic dog, possibly a Rottweiler or bullmastiff., “N.J. Wemmer. 215 Pear St. Phila.” – Back of block. Boxwood dealer Nelson J. Wemmer is listed at this address in Philadelphia city directories from 1861 to 1876, “The House Dog and the Wolf.” – Inscribed on side of block., Illustration appears in Child's world v. 5 no. 5, p. 3.
Date: [between 1861 and 1876?]
Location: ASSU Woodblocks -- Box 25

Title: Scrapbook of Prints
Description: Scrapbook containing primarily engraved periodical illustrations issued between circa 1820 and 1852 from American publications, including "Wellman's Literary Miscellany" and "Sartain's Magazine." Illustrations predominantly depict sentimental, religious, and genre views, many after European paintings, and often including children and animals, predominantly dogs.

Title: ASSU Illustration 7146
Description: Block numbered in two places: 7146, also 1098 on small adhesive label on back of block., Image of girls and boys outdoors; in the foreground a small girl sits with her arms around a younger girl, and both look at a dog lying on the ground with its tongue out; behind them are a group of running boys holding sticks or spears; two girls look on from a doorway., "V. Grottenthaler, 402 Library St Phila." – Back of block. Vincent Grottenthaler is listed (as a dealer in boxwood) at this address in Philadelphia city directories from 1869 to 1876.
Date: [between 1869 and 1876?]
Location: ASSU Woodblocks -- Box 26

Title: ASSU Illustration 6540
Description: Block numbered in two places: 6540, also 41 on small adhesive label on back of block., Image of a woman doing needlework beside a small boy in a doorway; the is surrounded by animals; he feeds a bird on his shoulder, a squirrel sits on his knee, a cat sits beside him, and the boy regards a dog sitting a few feet away., Illustration appears in New book of two hundred pictures, p. 198., Illustration also appears in Child's world, v. 27 no. 6 (1870), p. 3.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 28

Title: Mr. & Mrs. Jay Rial with Rial & Draper's Ideal Uncle Tom's Cabin
Description: Vignette from an advertisement for the touring stage company's production of "Uncle Tom's Cabin." Contains bust-length portraits of Jay Rial, wearing a beard and attired in a white collared shirt, a brown tie, and brown jacket, and Louise Rial, wearing her hair in curls and attired in a black dress with a gold brooch and a red shawl. Also depicted are brown dogs in recline flanking the portraits of the Rials, a miniature view of a plantation house, and palm leaves. Jay Rial, a New York theatrical manager, began tours of his production of "Uncle Tom's Cabin" circa 1881. The production was associated with novel features of live dogs and donkeys and props, such as floating cakes of ice, and was purported to have earned $1,000,000 by the end of its run. The Rials divorced in 1897., Title from item., Date inferred from dates of the theatrical production., See also trade card with duplicate design. [trade cards - Academy of Music, 1975.F.738]., Purchase 2006., 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. 1881]
Location: Library Company of Philadelphia | Print Department GC - Entertainment [105879.D]

Title: The White Turtle & the Red Crab of Philadelphia
Description: Showing the Northern Liberties Hose Company (White Turtle) and the Lafayette Hose Company (Red Crab) racing to a bonfire near Eastern State Penitentiary on July 25, 1852 during a weekend of fires throughout the city. Men from each company run side-by-side and pull the ropes hooked to their companies' hose carriages. One man from each company stands at the front of their crew and plays a bugle or yells at the team to push forward. Dogs and pigs run beside the companies, flee the scene, and get caught under the wheel of the hose carriage. Includes a view of the buildings along the street, showing people running in the distance and a sign reading "coal." The "winning" Northern Liberties Hose Company (White Turtle) had a fire house at New Market Street above Coates Street, just a few blocks from the "losing" Lafayette Hose Company (Red Crab) at Fourth Street above Brown Street. The hose companies often fought each other including at this "race" where a Northern Liberties member was stabbed., Title from item., Date inferred from content., Not in Wainwright., "Jonas" and "Priff" are pseudonyms., Philadelphia on Stone, POS 836
Date: [ca. 1852]
Location: Library Company of Philadelphia | Print Department *BW – Fires & Firefighting [P.2008.34.17]

Title: [B stands for bloodhound]
Description: Image is accompanied by a verse, which begins as follows: "B Stands for Bloodhound. On merciless fangs / The slaveholder feels that his "property" hangs, /." With his arms extended over his head, an escaped slave falls to his knees. Behind him, a bloodhound bites at his shoulders and claws his thigh; two other dogs surround him., Illustration in Abel C. Thomas's Gospel of Slavery (New York: Published by T.W. Strong, 1864), n.p., Fels Afro-Americana Image Project, Fugitives.
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Thoma 50969.D vignette B, https://digital.librarycompany.org/islandora/object/Islandora%3A2814

Title: [F stands for fugitives]
Description: Image is accompanied by a verse, which begins as follows: "F Stands for Fugitives hasting from wrath, / And furies are hot on their dangerous path. /." A group of four fugitive slaves, including a mother and child, hide in a thicket, hoping to avoid the bloodhounds who trail them. To the left, in the distant background, an American flag waves., Illustration in Abel C. Thomas's Gospel of Slavery (New York: Published by T.W. Strong, 1864), n.p., Fels Afro-Americana Image Project, Fugitives.
Date: [1864]
Location: Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Thoma 50969.D vignette F, https://digital.librarycompany.org/islandora/object/Islandora%3A2815

Title: Practical amalgamation
Description: Racist print promoting anti-abolitionists' fears of multiracial personal relationships. Depicts a parlor scene where two inter-racial couples court on a couch. In the left, an attractive white women sits on the lap of an African American man. The man, depicted in racist caricature with grotesque facial features, holds a guitar in his right hand as she engages him in a kiss. In the right, a rotund African American woman holds a fan in her right hand as she is wooed by a slender white man on his knees who kisses her left hand. Portraits of abolitionists Arthur Tappan, Daniel O'Connell (a radical Irish abolitionist), and John Quincy Adams are hung on the wall behind the couch. A white and black dog are in the left corner., Title from item., After E.W. Clay's Practical amalgamation (New York: Published and sold by John Childs, Lithographer, 119 Fulton Street, upstairs, 1839]., Purchase 1970., 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: 1839
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1839 - Pra 2 [7897.F]

Title: Sunday laws hanging the cat on Monday for killing the mouse on Sunday
Description: Cartoon mocking Philadelphia's Sunday Laws depicting the moment before "Thomas" the cat will be hanged for his murder of a mouse on the Sabbath. In the center, shows the gallows surrounded by a line of white policemen, attired in uniforms and caps. In the left, three white hangmen, attired in suits, hold onto the rope and pull on the unlooped end of the noose. Two of the men smile sinisterly, while the third man wipes his tears with a handkerchief as he says, “Alas poor Tom!” To the right, an African American man, portrayed in racist caricature with exaggerated features, carries the "Blood Tub." Under the noose, a white man, possibly Philadelphia Mayor Alexander Henry, stands holding an execution order that reads, “Mayor Public Execution Tom” and the cat by the scruff of its neck. Before him stands a minister, resembling John Chambers, a champion of the Sunday Laws. He holds the dead mouse in this right hand and an open book in his left hand as he sentences the cat to death for murder. Behind the minister, an elderly white man, attired in a suit with a white bowtie, stands slightly hunched down holding an ear trumpet to his right ear. He comments, “I can’t hear a word the minister says on account of them cars,” a reference to the contested Sunday Law against the running of streetcars. A black dog runs in the left foreground., Title from item., Date from manuscript note written on recto: Aug. 1859., Place of publication inferred from content., Text printed on recto, below image: In the Dark Ages, long ago, One Horne was flogged on Monday; What for? That’s what I want you to know, He danced a horn-pipe Sunday! That was all! He but danced a horn-pipe Sunday, But he danced to the horsewhip Monday. By the roundheads, too, when Cromwell reigned, We read there was a hung on Monday, A cat who “the Sabbath day (?) profaned” By cat-ching a mouse on Sunday? Understand: She played with him first on Sunday, ‘Twas for that she was hung on Monday! And by America’s Puritan men, Mrs. Hotchkiss was punished on Monday; Cotton Mather forbade her, but once and again, She had kissed her babe on Sunday; A blow for a kiss. For so many kisses on Sunday, She got so many blows on Monday. So, too, in Brooklyn, the other day, Meyerbeer was tried on Monday; The complaint against him thus did say “He has sold lager beer on Sunday” And he had! But the jury said, on Monday! A good drink might be sold Sunday! And in the West’s “Queen city,” too, One Rudolph’s just ‘quitted on Monday; He would drive his ‘bus the whole week through And accommodate people on Sunday: And the Court, Gave the very Pruden-t decision on Monday, That “there’s more than ‘one thing needful’ on Sunday:” And so the “good time” is “coming” boys When a thing that is good on Monday—A drink, or a drive, or a joyful noise—Will be thought not bad on Sunday! Everywhere When wrong will be wrong on Monday, And right will be right on Sunday!, Accessioned 1893., 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: [Philadelphia]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1859-Sun [5656.F.24a]

Title: Young England O, shameful England! Greedy puffed with pride, a friend in sore distress, thy false heart hath denied
Description: Cartoon critical of Great Britain's lack of support of the Union depicting the country as a greedy, pompous, and disingenuous child. Depicts a smiling, well-dressed, plump lad partaking of a lavish table of food in front of an emaciated, begging dog on an outside patio near the ocean. In the background, an American ship sails near the shore and displays a banner labeled, "Coal?" On the shore, near a row of cannons and a pile of coal, soldiers display a British flag labeled "No!", Date of publication supplied by Weitenkampf., Publisher's imprint stamped below title., Retrospective conversion record: original entry, edited., Digitized by Alexander Street Press for Images of the American Civil War.
Date: [between 1862 and 1864]
Location: Library Company of Philadelphia | Print Department political cartoons - 1862-30W [6392.F]

Title: Why don't you take it?
Description: Cartoon promoting the existence of a Union stronghold to defend against a Confederate seizure of Washington, D.C. Depicts General Winfield Scott as the bulldog, "Old General U.S.," protecting the cut of meat, "Washington Prime Beef," from the snarling, retreating greyhound "Jeff" (Confederate President Jefferson Davis). Davis, wearing a Confederate flag and broad-brimmed hat, slinks back to his side where a bale of cotton lies and a palmetto tree stands. Scott sits guard in front of several money bags, a cannon, and barrels of corn, flour, and "Mess Beef.", Per Weitenkampf, one of four variant designs after original by cartoonist Frank T. Beard that was also used on Civil War patriotic envelopes., Contains manuscript note lower right corner: Ballard Vale 1861., Contains manuscript note on verso: VA Ballard Vale May 1861., Retrospective conversion record: original entry, edited., Digitized by Alexander Street Press for Images of the American Civil War.
Date: [1861]
Location: Library Company of Philadelphia | Print Department political cartoons - 1861-54W [P.2275.15]

Title: Life in Philadelphia. "Behold thou art fair Deborah,..."
Description: Caricature satirizing the manners of Quakers and depicting a white Quaker couple, Deborah and Timothy, courting in front of a fireplace in a sitting room. In the right, Timothy, depicted in left profile sits stiffly in a wooden, straight back chair with his hat in his lap. He is portrayed with full lips, a pronounced nose, and large ears and with his brown hair in a cowlick at the back top of his head. He wears a brown long coat, brown pants, and tied shoes. He compliments Deborah by reciting verses from the biblical love poem Song of Solomon. In the right, Deborah, portrayed facing the viewer, and looking down, sits stiffly in a wooden, straight back chair with her hands in her lap. She is attired in a brown plain, long-sleeved dress, and a white kerchief over her shoulders. She also wears a white cap out of which sprays of her brown hair are visible on her forehead. Dorothy replies she is overcome by him and recites that his hair is like a flock of goats "from Gilead." A small dog with a curled tail sits between their feet. Also shows, in the background, wooden, straight back chairs flanking the mantelpiece of the fireplace on which two candles rest., Title from item., Date inferred from content., Plate 2 of the original series published in Philadelphia., After the work of Edward W. Clay., Probably published by Anthony Imbert of New York., Contains five lines of dialogue below the image: Behold thou art fair Deborah, thou hast doves eyes! Behold thou art fair Deborah, yea pleasant! Turn away thine eyes from me, Timothy, for they overcome me; thy hair is a flock of goats that appear from Gilead!, Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 88. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021., Accessioned 1999.
Date: [ca. 1830]
Location: Library Company of Philadelphia | PRINT. Life in Philadelphia (New York Set) [P.9701.6]

Title: [Group portrait in front of the rear of a frame residence at an unidentified location]
Description: Portrait of a large group standing before a picket fence before a house at an unidentified location. In the right, five white men stand and sit, attired in uniforms, possibly baseball uniforms. In the center, a group of white men, women, and children, possibly a family, sit and stand and look at the viewer. In the left, a group of African Americans, who possibly work with the family, include two women one of whom holds a baby, a young girl, and a man who holds the reins of a horse. Several dogs are also in the portrait., Title supplied by cataloger., Date inferred by attire of the sitters., Purchase 1989., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [ca. 1895]
Location: Library Company of Philadelphia | Print Department group portrait photographs - family [P.9260.615]

Title: [Life in Philadelphia scraps]
Description: Series of trimmed, captioned scraps containing racist African American imagery based on the “Life in Philadelphia” series after the designs of Edward W. Clay first published 1828-1830. The series of primarily racist social caricatures lampooned the etiquette and conventions of early 19th-century, middle-class Philadelphians, particularly the growing community of free African American persons. Caricatures depict scenes of courtship, society balls, fashion, freemasonry, and the election of Andrew Jackson, as well as sexism, sexual harassment, and sexual innuendo. The figures are portrayed with oversized and exaggerated features and often in the fashion of dandies and belles. Scenes include an African American man leaving his card for “Clotilda” at her basement apartment door within the dishcloth of her African American woman house servant before him (P.2021.28.1a); an African American man-woman couple stopped during their walk in a park to watch a man watching them (P.2021.28.1b); an African American ball at which an African American man attendee asks an African American woman attendee for a dance in front of other African American attendees in the background (P.2021.28.2a); an African American man sexually harassing an African American woman on a city street (P.2021.28.2b); an African American woman and man in conversation on a Sunday (“day of our lord”)(P.2021.28.3a);, African American couple “Mr. Lorenzo” and “Miss Chloe,” seated on a couch, by a window, in a parlor in conversation (P.2021.28.3b); an African American ball at which an African American woman attendee asks an African American man attendee if he likes the waltz in front of other African American attendees in the background (P.2021.28.4a); an African American woman in a dry goods store asking a white man sales clerk, who speaks with a French dialect, about stockings (P.2021.28.4b); an African American military volunteer chastising an African American boy drummer at a military encampment (P.2021.28.5a); an African American man-woman musical couple where she plays the guitar and he sings “Coal Black Rose”(P.2021.28.5b); two African American masons in conversation about “Gen’l Jackson” in front of an altar at a masonic hall (P.2021.28.6a); an African American woman, “Dinah,” being asked by an African American man, “Mr. Durang,” about his new checkered “fashion trousers” (P.2021.28.6b). Women figures are attired in wide-brimmed, and/or ornately adorned, wide-brimmed hats or headpieces, puff-sleeved dresses or a hooded cape in ornate patterns, as well as gloves, slipper shoes, jewelry, and monocles. Men figures are attired in top or wide-brimmed hats, waistcoats, vests, large bowties, trousers or pantaloons, military uniform, masonic regalia, gloves, and slipper shoes or boots. Accessories held by the figures include purses, umbrellas, fans, walking sticks., Scenes also include detailed backgrounds and interior and exterior settings including residential facades; dogs; a white man seated on a bench in a park; ballrooms with attendees and a band playing in a balcony; a section of a city street with a guardhouse; parlors; a counter at a dry goods store; a volunteer military encampment; a masonic hall; as well as pieces of furniture, such as chairs, mantles, and side tables., Title supplied by cataloguer., Date inferred from content., P.2021.28.1a contains three lines of dialogue in the vernacular and dialect below the image: Is Miss Clotilda at home? No sir she’s particularly ingaged in washing de dishes – Ah! give her my card!, P.2021.28.1b contains two lines of dialogue in the vernacular and dialect below the image: Vol is you looking at my dear? Vy I’m looking at dat imperent fellow vat’s laughing at us?, P.2021.28.2a contains three lines of dialogue in the vernacular and dialect below the image: Will you hona me wid your hand for de next codrille Miss Manda? Tank you sa’ but I’m ingaged for de nest ten set!, P.2021.28.2b contains two lines of dialogue in the vernacular and dialect below the image: What do you take me for? you black nigger? Why I take you for myself to be sure., P.2021.28.3a contains two lines of dialogue in the vernacular and dialect below the image: Bery hot dis day of our lord Mr. Cesa! Berry hot indeed Miss Juliet – de terometa is 96 degree above joho., P.2021.28.3b contains two lines of dialogue in the vernacular and dialect below the image: Mr. Lorenzo dat’s a nice dog you’ve got” Lord! Miss Chloe., P.2021.28.4a contains two lines of dialogue in the vernacular and dialect below the image: do you walse Mr. Wellington? No, my dear creta_ It’s to common. I go nothin but de Manourkey!, P.2021.28.4b contains two lines of dialogue in the vernacular and French dialect below the image: Have you any flesh coloured silk stockings, Sir? Oui Mamselle here is von pair of de last Parisian touch-, P.2021.28.5a contains two lines of dialogue in the vernacular and dialect below the image: You say I belong to de milishy you black varmont. I’ll let you know I’m a wolunteer., P.2021.28.5b contains two lines of dialogue in the vernacular and dialect below the image: How will your voice harmonize wid de sentiment. Mr. Cato you quite equal to Horn!, P.2021.28.6a contains three lines of dialogue in the vernacular and dialect below the image: Well brudder Jones what you tink of Genl Jackson now? Day say he’s gwang to be Anti Masonic! I don’t know, I tink dat depend on de new cabinet., P.2021.28.6b contains three lines of dialogue in the vernacular and dialect below the image: How you like de new fashion trousers Dinah. Oh quite lubly! You look like Mr. Durang when he play harlequin in de masqarade., Printed in upper left corner of P.2021.28.1a: [E?]dition., Printed in upper right corner of P.2021.28.2a and trimmed: 2nd E?[dition?], RVCDC
Date: [ca. 1838-ca. 1855]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Miscellaneous) [P.2021.28.1a-6b]

Title: It stands at the head. "Domestic" sewing machine
Description: Racist trade card promoting Domestic Sewing Machine Company and depicting a caricaturized genre scene of an African American family looking to their right at a billboard on the side of a building. The figures are portrayed with exaggerated feaures. Shows an older, squat man, a woman, and three children seated and standing in a horse-drawn cart halted on a dirt road. An older boy stands behind the cart. The man, attired in a top hat; a ragged jacket; a shirt with bowtie; and pants with patches on the knees and suspenders sits smiling and holding in his hands a stick and the reins of his horse that wears blinders. The woman, attired in spectacles; a straw hat with a decorative ribbon that is tied under her chin in a bow; a long-sleeved dress; and a shawl stands up inside the cart. She holds a baby in her left arm and points at the billboard with her right hand. A boy attired in a long shirt and pants sits beside the man in the front of the cart. Behind the man, a girl attired in a bonnet stands. The boy outside of the cart is barefooted and attired in a cap; a shirt; and ragged pants with a hole at the knee, and carries a basket. A dog, its tail between its legs, hunches underneath the cart. In the left, the billboard is illustrated with a sewing machine in the center of a star with the advertising text around it. Text reads: "It stands at the head : Copyrighted by the "Domestic" Sewing Machine Co. The star that leads them all. Unequalled for simplicity of construction ease of operation and durability. The light running "Domestic" sewing machine." In the distant right background a house is visible. William S. Mack & Co. and N.S. Perkins founded the Domestic Sewing Machine Company in 1864 in Norwalk, Ohio. The White Sewing Machine Company bought the company in 1924., Title from item., Date deduced from history of the advertised business., Distributor's imprint printed on recto: E.R. Bumps, jeweller, Waldoboro, ME., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Domestic [P.2017.95.51]

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: Which wi[ll let go] first, the dog or the darkey
Description: Racist, trade card specimen depicting caricatures of two African American men stealing watermelons from a farm. Shows the barefooted, African American man, attired in a long-sleeved shirt and ragged pants, carrying a watermelon under each arm as he tries to get over a wooden fence. He has a fearful expression on his face as a dog has ripped and holds the back of his pants in its mouth. Another barefooted, African American man, attired in a long-sleeved shirt and striped pants, opens his mouth in alarm as he has fallen over the fence and landed face down with his legs in the air. The pieces of a smashed watermelon lie on the ground beside him. In the right background is a house and a white man, attired in a hat and carrying a rifle, moving towards the fence., Title from item., Date deduced from the visual content., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Misc. - Which [P.2017.95.211]

Title: [African American woman being courted by an African American man suitor as a dog bites his pants]
Description: Racist, trade card specimen depicting caricatures of an African American woman being courted by an African American man suitor as a dog bites his pants. In the left, the African American woman, attired in a straw hat decorated with a green ribbon and bow; gold hoop earrings; a ruffled, blue-checked dress with white sleeves and blue polka dots; and white shoes, stands with her back to the suitor. She carries a red book in her left hand and places her index finger on her right hand to her lips as she looks pensively down at the suitor. In the right, the barefooted, African American man, attired in a white top hat decorated with a black band, a white shirt with an oversized collar, a red bowtie, and yellow overalls with red stripes and suspenders, kneels as he looks up at the woman with his hands out. A small, white and brown dog with a brown collar bites and pulls at the seat of the man’s pants., Title devised by cataloger., Date deduced from the visual content., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Misc. 1 [P.2017.95.212]

Title: Saturday evening
Description: Photographic reproduction of a print drawn by Helen M. Colburn, daughter of New Jersey artist Rembrandt Lockwood, depicting an African American family returning from a market trip. The figures are drawn with racist and caricatured features and mannerisms. Shows in the left, a bare-footed, young boy, attired in a long-sleeved shirt, breeches, and suspenders, striding next to and looking up at this mother who carries a watermelon on her head. She smokes a pipe and walks with her hands on her hips. She is attired in a bonnet that covers much of her face, shift dress, and apron. Behind her, in the center of the image, the father of the family walks next to a black dog and with two large cabbages tucked into his arms. He slightly frowns and is attired in a short-brimmed hat, long-sleeved shirt, vest and pants. In the right, is an older son, who looks at the viewer. He carries a large basket of produce over his left arm. He is attired in a wide-brimmed hat, long-sleeved shirt, long apron, and pants. In the background, a wooden fence and the tops of trees are visible. Image also shows a white woman, wearing her long, light-colored hair down on her shoulders, and attired in a wide-brimmed hat, and long-sleeved, narrow silhouette dress with an overskirt walking between the fence and the family. Robinson, married to Washington U.S. Treasury clerk Rollinson Colburn, lived in the Capitol between circa 1870 and her death in 1912. In 1887 eight of her works, some purported to be based on her own eye-witness accounts during the 1870s, showing African American life in the city were published as a collectible series of photographs. Occassionally, Colburn described and signed her descriptions of the scenes on the versos of the photographs., Title from item. Title printed on mount and written on original print., Date from copy right statement printed on mount: Copyright 1887., Written in lower right of original print: Mrs. R. Colburn., RVCDC, Description revised 2022., Access points revised 2022., Purchased with the 2019 Junto Fund.
Date: 1887
Location: Library Company of Philadelphia | Print Department photos - 5 x 7 - unidentified - Events [P.2020.16.4]

Title: Use Queen Anne Soap I'se a waiting
Description: Racist trade card illustration depicting a full length portrait of an African American woman walking a small brown dog. The woman is attired in an elaborate orange, yellow, and green feathered bonnet, a blue and red dotted and frilled dress with white and blue details, a pendant, white and yellow fingerless gloves, red stockings, and black heeled shoes. She holds the dog's leash and a red and blue fan in her left hand and a blue parasol in her right hand. Visible behind her is a large yellow ribbon which is attached to the back of her dress. The woman leans forward while jutting out her backside and stands with her right foot in front of her left. The woman is portrayed with exaggerated features. Queen Anne Soap was owned by the Detroit Soap Company, which in 1915 was acquired by the Buffalo-based Lautz Bros. & Co., Title from item., Date inferred from dates of operation of advertised business., Advertising text on recto: Purest and best in the world., Series number on recto: 58., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Queen [P.2017.95.145]

Title: Gately & Britton, (limited,) largest installment house in Reading, no. 940 Penn Street
Description: Racist trade card promoting Gately & Britton's home furnishing store in Reading, Pa. and depicting a caricature of an African American boy sitting against a fence post eating a large slice of watermelon. Shows the boy squatting on his toes and smiling at the viewer as he holds a piece of watermelon in both hands. He has taken the melon out of a field of watermelon plants surrounded by a barbed wire fence. He is attired in a torn straw hat, blue shorts with a patch, and only the partial sleeves of a red and white striped shirt. The rest of the shirt has ripped and hangs from the barbed wire in the left. On the ground in the left is the watermelon with a slice cut from it with the handle of a knife protuding out of it. In the right is a small, white and brown dog. Edward Gately and G.M. Britton established a home furnishings store called Gately & Britton at 940 Penn Street, Reading, Pa. in 1887. The business continued operating into the 20th century., Title from item., Place of publication deduced from place of operation of advertised business., Publication information and date from copyright statement: Copyrighted 1887 by Chas. Brown., Series number on recto: C-762., Gift of David Doret.
Date: 1887
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Gately [P.2017.95.68]

Title: Beauty on the street- front view. J.T. F[ritch], jobber & dealer in tobacco cigars, snuff, pipes &c. Main Street, Kurtztown, PA
Description: Racist trade card illustration depicting an African American woman walking her dog. The woman is attired in an elaborate feathered wide-brimmed top hat, a form-fitting jacket with a ruffled collar, a long skirt, petticoat, and boots. The woman holds an umbrella in her right hand and her dog's leash in her left. The dog appears to urinate behind a pole. The woman is depicted with exaggerated features. J.T. Fritch was a businessman based in Kurtztown, Pennsylvania who was trained as a printer, became a cigar manufacturer and dealer, and embarked on several other business ventures during the late 19th and early 20th centuries., Title from item., Printed in blue ink., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Tobacco [P.2017.95.176]

Title: Merrick Thread Co. "If this was not Merrick's thread I'd get that coon."
Description: Racist trade card promoting Merrick thread and depicting a scene of a dog confronting an African American boy stealing a chicken. Shows the smiling African American boy kneeling on the ground and lifting a triangular-shaped wooden cage off a chicken as a large, grey pit-bull like dog lunges at him from the right. The boy is dressed in a blue and white plaid vest, a red shirt, blue pants rolled at the cuffs, and black shoes. The dog is tugged back by a white thread tied around its red collar and pulled from a large spool marked with the "Merrick Thread Co. Best Six Cord 8" logo. Behind the dog is a wooden dog house. Two African African boys watch from above and behind a fence with missing wooden panels. All figures are portrayed with exaggerated features. Print also contains an image on verso depicting a partially opened box of several spools of thread, on which the thread company's tagline "Merrick Thread Co's Ready Wound Bobbins for Sewing Machines Warranted 200 Yards" is printed.Merrick Thread Co. was founded in 1865 by Timothy Merrick, Austin Merrick, and Origen Hall in Mansfield, Connecticut. After its founding, the company established mills in Holyoke, Massachusetts. In 1898, the company merged with thirteen other independent thread and yarn manufacturers to form the American Thread Company. John Wanamaker opened his dry goods store the Grand Depot in former Pennsylvania Railroad sheds in 1876., Title from item., Date inferred from content and genre of print., Advertising text printed on verso: Buy Merrick Thread Co.'s Best Six Cord Soft Finish Spool Cotton For Machine & Hand Sewing, Warranted 200 Yds. Also. Be Progressive. Try the ready-wound Bobbins and save both time and labor. Use them once and be convinced. Made for all Sewing-Machines. Same price as six cord., Distributor's imprint printed on verso: John Wanamaker, Thirteenth, Chestnut & Market Sts., Gift of David Doret.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Merrick [P.2017.95.121]

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

Title: [Young African American man, possibly Jerry Stevens an enslaved man, at Raceland Plantation, Dinwiddie, Virginia]
Description: Full-length portrait of an African American man, attired in a brimmed hat, a long-sleeved shirt, and pants with large tears and holes, holding a wooden plow over his shoulder. He stands in front of a wooden building and to the left of a wooden door. In the right is a white dog with its back to the viewer., Title supplied by cataloger., Date inferred from photographic medium and content., Purchase 2011., 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: 1885
Location: Library Company of Philadelphia | Print Department portrait photographs - miscellaneous - Stevens [P.2011.16]

Title: Andrew Wurfflein manufacturer & importer of guns, rifles & pistols, no. 208 North Second St. 5 doors above Race. Philadelphia Repairing in all its various branches
Description: Advertisement showing the exterior of the storefront containing a display window and a large model rifle above the entrance. An American flag projects from the muzzle of the model that is attached to the building by ropes. Patrons holding rifles and attired in hunting gear depart from the store as other patrons sit and stand near the open cellar doors of the establishment. A dog flanks the hunters and a boy walks ahead with two other dogs on leashes. Rifles, hunting bags, and guns adorn the display window. Street activity includes an African American laborer pushing a handcart of rifles and a boy carrying a wrapped rifle over his shoulder. Also shows neighboring buildings. Wurfflein's son, Andrew assumed the business circa 1871 and operated it until 1915., Printed on lower sides: Wholesale; Retail., Philadelphia on Stone, POS 21, Atwater Kent Museum: 54.3.3/2
Date: [ca. 1861]
Location: Atwater Kent Museum | Print Department AKM AKM 54.3.3/2

Title: Blood hounds attacking a black family in the woods
Description: Engraving is after a drawing by Rainsford, the former Captain of Britain's Third West-India Regiment. The setting is St. Domingo (Haiti) in 1803. As Rainsford explains in his text, as the French occupiers lost power and control, they reverted to increasingly barbarous measures, and unleashed vicious blood hounds on black residents., Plate in Marcus Rainsford's Historical Account of the Black Empire of Hayti: comprehending a view of the principal transactions in the revolution of Saint Domingo; with its antient and modern state (London: Albion press printed: published by James Cundee, Ivy-Lane, Paternoster-Row; and sold by C. Chapple, Pall Mall, 1805), p. 338., Fels Afro-Americana Image Project, Resistance.
Creator: Barlow, J., engraver
Date: [1805]
Location: Library Company of Philadelphia | Books & Other Texts | Rare Am 1805 Rains 1416.Q p 338, https://digital.librarycompany.org/islandora/object/Islandora%3A2707

Title: The mode of training blood hounds in St. Domingo and of exercising them by Chasseurs
Description: Featuring a model of a black man and a Spanish Chasseur in typical dress, the engraving helps shows how Spanish colonizers in St. Domingo trained blood-hounds to track and kill runaway slaves. As Rainsford explained, "With respect to the dogs their general mode of rearing was latterly in the following manner. From the time of their being taken from the dam, they were confined in a sort of kennel, or cage, where they were but sparingly fed upon small quantities of the blood of different animals. As they approached maturity, their keepers procured a figure roughly formed as a negro in wicker work, in the body of which were contained the blood and entails of beasts. This was exhibited before an upper part of the cage, and the food occasionally exposed as a temptation, which attracted the attention of the dogs to it as a source of the food they wanted. This was repeated often, so that the animals with rodoubled ferocity struggled against their confinement while in proportion to their impatience the figure was brought nearer, though yet out of their reach, and their food decreased, till at the last extremity of desperation, the keeper resigned the figure, well charged with the nauseous food before described, to their wishes. While they gorged themselves with the dreadful met, he and his colleagues caressed and encouraged them. By these means the whites ingratiated themselves so much with the animals, as to produce an effect directly opposite to that perceivable in them towards the black figure; . . . ." (p. 426-27)., Plate in Marcus Rainsford's Historical Account of the Black Empire of Hayti: comprehending a view of the principal transactions in the revolution of Saint Domingo; with its antient and modern state (London: Albion press printed: published by James Cundee, Ivy-Lane, Paternoster-Row; and sold by C. Chapple, Pall Mall, 1805), p. 422., Fels Afro-Americana Image Project, Resistance.
Creator: Barlow, J., engraver
Date: 1805
Location: Library Company of Philadelphia | Books & Other Texts | Rare Am 1805 Rains 1416.Q p 422, https://digital.librarycompany.org/islandora/object/Islandora%3A2708

Title: Why dont you take it?
Description: Cartoon promoting the existence of a Union stronghold to defend against a Confederate seizure of Washington, D.C. Depicts General Winfield Scott as the bulldog, "Old General U.S.," protecting the cut of meat, "Washington Prime Beef," from the snarling, retreating greyhound "Jeff" (Confederate President Jefferson Davis). Davis, wearing a Confederate flag and broad-brimmed hat, slinks back to his side where a bale of cotton and animal skull lie, a coiled snake hisses, and a palmetto tree stands. Scott sits guard in front of several money bags, a cannon, American flag, and barrels of beans, beef, and "Mess Pork.", Copyrighted by F.T.B. [Frank T. Beard?], Name of artist supplied by Weitenkampf., One of four variant designs that was also used on Civil War patriotic envelopes., Retrospective conversion record: original entry, edited., Originally part of a McAllister Civil War scrapbook of Sumter and Anderson, Scott, Brownlow., Digitized by Alexander Street Press for Images of the American Civil War.
Creator: Beard, Frank, 1842-1905, lithographer
Date: c1861
Location: Library Company of Philadelphia | Print Department political cartoons - 1861-26 [5794.F.c]

Title: Second Street north from Market St. wth. Christ Church. Philadelphia
Description: Street scene showing Second Street north from Market Street in Philadelphia, including Christ Church and the Old Courthouse and market. Depicts the busy street corner with people riding horses, driving and loading carts, conducting business, and walking and performing errands. In front of the Courthouse, vendors sit and sell their goods while nearby a constable on horseback is flanked by citizens. An African American boy carrying a basket strolls across Second Street. He walks toward two men and a child convened together and a man on horseback traveling toward the church (his back to the viewer). A dog runs in front of the horse. Christ Church, a Protestant Episcopal Church, was built between 1727 and 1744 and was founded as part of a provision of the original charter given to Pennsylvania founder William Penn. The Old Courthouse, completed in 1710 was the town hall, seat of the Legislature, market house, and the Pennsylvania statehouse until Independence Hall was opened in 1748. The Courthouse was demolished in 1837., Title from item., Illustrated in S. Robert Teitelman's Birch's views of Philadelphia (Philadelphia: The Free Library of Philadelphia, 1982), pl. 15., Accessioned 1979., Description revised 2021., Access points revised 2021.
Creator: Birch, William Russell, 1755-1834
Date: [1828]
Location: Library Company of Philadelphia | Print Department Birch, William-Views of Philadelphia [Sn 15c/P.2276.33]

Title: Second Street north from Market St. wth. Christ Church. Philadelphia
Description: Street scene showing Second Street north from Market Street in Philadelphia, including Christ Church and the Old Courthouse and market. Depicts the busy street corner with people riding horses, driving and loading carts, conducting business, and walking and performing errands. In front of the Courthouse, vendors sit and sell their goods while nearby a constable on horseback is flanked by citizens. An African American boy carrying a basket strolls across Second Street. He walks toward two men and a child convened together and a man on horseback traveling toward the church (his back to the viewer). A dog runs in front of the horse. Christ Church, a Protestant Episcopal Church, was built between 1727 and 1744 and was founded as part of a provision of the original charter given to Pennsylvania founder William Penn. The Old Courthouse, completed in 1710 was the town hall, seat of the Legislature, market house, and the Pennsylvania statehouse until Independence Hall was opened in 1748. The Courthouse was demolished in 1837., Title from item., Illustrated in S. Robert Teitelman's Birch's views of Philadelphia (Philadelphia: The Free Library of Philadelphia, 1982), pl. 15., Accessioned 1982., 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: Birch, William Russell, 1755-1834
Date: [1828]
Location: Library Company of Philadelphia | Print Department Birch's views [Sn 15c/P.8718]

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