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Title: B.M. Weld, drugs & medicines, also boots, shoes, slippers, etc. Bradford, Vermont
Description: Series of three illustrated trade cards promoting druggist B.M. Weld. Depicts a white child raising the American flag on a flag pole; a framed image of two men walking beside a house under the moonlight superimposed onto a spray of flowers; and an African American man, portrayed in racist caricature and attired in a white collared shirt, a green bowtie, and a blue jacket, who leans over the folded signboard containing the title, and dangles a red suit for a monkey, which sits in the lower right corner holding a red cap in its hand., Title from item., Date inferred from dates of operation of business., RVCDC, Description revised 2021., Access points revised 2021., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of William H. Helfand, 2000., 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. 1875]
Location: Library Company of Philadelphia | Print Department Helfand Patent Medicine Trade Card Collection - Pharmacists - W [P.9828.7053-7055]

Title: Philharmonic T[h]eatre, Islington. Every evening at eight. [Sa]turday at three and eight. Sam Hague's Ori[gi]nal Slave Troupe at St. James's Hall, Li[me] Street, Liverpool. Every evening at 8, Saturdays at 3 & 8, all the year round. Positively for four weeks on[ly] commencing Monday, Feb. 14th. Terminat[ing] [on] March 11 [ ] been re-built since the fire), St. James Hall, Liverpool, March 13th, 1876
Description: Advertising print depicting a racist scene to promote Sam Hague's Original Slave Troupe after their dislocation from their permanent home theatre, St. James Hall, following a fire in 1875. Shows a rhinoceros, a bell on his tail, pulling a cart on which members of the minstrel troupe, portrayed as Black men and women caricartures, perform. On the head of the animal, a man sits, his legs straight out while he holds the pole of a banner designed as an American flag and that is marked with advertising text for the troupe. On the animal's back, men and a woman stand, play hand instruments, and dance on a raised plank. On the cart, men play string and wind instruments, including a bass and trombone, as well as one man, bare-chested and in boxing pants, holds up an open umbrella, on which another man sits and plays the drum. The men figures are attired in suits and/or shirt sleeves and pants. The woman figure wears a kerchief, long-sleeved shirt, with the sleeves pulled up and apron-like, checkered skirt. Scene also includes blades of grass and a flowering plant in the foreground. Sam Hague's Original Slave Troupe evolved from the Georgia Slave Troupe Minstrels for which Samuel Hague assumed part management in 1866. Within the year, the troupe of formerly enslaved individuals, including singers, comedians, and minstrels, traveled to Great Britain to tour the country. In 1869, Hague acquired St. James Hall in Liverpool as a permanent home for the company, as well as a site to organize touring companies. In 1875, the hall was razed by fire and for the next year, the Troupe performed from other theatres such as Philharmonic Theatre, Islington. By this time, the Troupe was mainly comprised of white performers who performed in Blackface and Hague had managed the Troupe with a few different partners., 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 promotional text on item., RVCDC, Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Print torn in half and with sections missing.
Date: [1876]
Location: Library Company of Philadelphia | Print Department **GC - Advertisements - Samuel Hague [P.2022.57.1]

Title: No more Chinese cheap labor. Celluloid cuffs, collars & bosoms
Description: Trade card containing an illustration depicting a racist scene with the figures of Uncle Sam and America, and a Chinese man laundry worker. In the left, the laundry worker, wearing his hair in a queue and attired in a long-sleeved, orange tunic; long, wide-legged, white pants; and orange slip-on, cloth shoes; sits on an over-turned wooden wash tub. His eyes are closed, and he holds his head down in his left hand. His left leg is crossed over his right, and his right hand is on his left ankle. To his left, the white woman figure of Columbia/America, looks down at the laundry worker and points up with her right hand. In her left hand, she holds up a shield with the pattern of the American flag and marked "Invention." She wears her dark hair pulled back to the nape of her neck and is attired in a gown with the pattern of the American flag, a red and blue cap adorned with a white star, and sandals. An open box of spilled starch lies between her feet and those of the laundry worker. Behind the laundry worker, is a laundry iron on a shelf, Chinese characters written on a wall, and Uncle Sam resting his arms on the ledge of an opening in the wall. Uncle Sam has red hair and a beard and is attired in a top hat, a blue jacket with a white star pattern, a red neck tie, and white shirt with the collar turned up. He looks at America. Above his head is the sign "Gon Up Chinese Laundry." Patented during the 1860s and 70s, separable celluloid collars, unlike separable paper collars, were waterproof and longer lasting, as well as fashionable and affordable. Following the Chinese Exclusion Act of 1882, the celluloid collar industry leveraged the racist legislation to promote the use of celluloid collars as patriotic and as a means to make Chinese launderers obsolete and to facilitate the end of Chinese immigration., Title from item., Date inferred from content., Includes advertising text printed on verso: A New Improvement-Patented. Waterproof Linen. Waterproof-Elastic-Durable. Ladies' & Gents' Cuffs Collars, [Bossa]ms, Made From Celluloid. In Introducing this new invention [italicized], we beg to call the attention of the public to some of the remarkable features of this "new departure," [italicized], which will commend the use of these goods to all who study economy, neatness, and beauty [italicized]. 1st. The Interior is Fine Linen. 2d. The Exterior is Celluloid. 3d. The Union of Above, Combines the Strength of Linen With The Waterproof Qualities of Celluloid. 4th. The Expense of Washing Is Saved. If The Goods Are Soiled Simply Wipe Them Off With Soap And Water. 5th. The Goods Never Wilt Or Fray On Edges. 6th. They Are Perspiration Proof. For Sale by All Gents' Furnishing & Fancy Goods Houses throughout the Country., Image caption: "Othello's occupation gone." The Hand Writing on the Wall., Purchased with funds for the Visual Culture Program., RVCDC
Date: [ca. 1882]
Location: Library Company of Philadelphia | Print Department trade card - Celluloid [P.2021.20.1]

Title: Military memorial. War record of [blank]. "Liberty and union, now and forever, one and inseparable." - Webster
Description: Commemorative certificate for Civil War Union veterans containing a montage of military and battle scenes, portrait vignettes, pictorial details, and statistical charts surrounding blank entries for a "War Record." Military and battle scenes, some captioned depict a military parade; a cemetery, probably during Memorial Day with wreathes and flowers being left on graves by visitors near a grandstand an military band; "Attack on Ft. Sumter April 12th 61" showing men at battle; "Enlisting" showing a large crowd in front of the Capitol as men enlist by a grandstand and band; "In Camp" depicting "Sutler" Camp in which men drill, receive mail, play horseshoes, gather wood, cook, and play instruments near rows of tents; "Off for the War" showing Union Solders being sent off by their families and supporters via train and steamboat; "The Conflict" showing a major battle with insets showing "Attack on the Pickets" and "Long Roll. "Fall In."; "On the March" showing enslaved persons near their dwellings on a plantation welcoming Union soldiers; "Hospital" depicting a combat hospital in the woods flying the banner "U.S. S.C. U.S. C.C."; "Prison" depicting several soldiers in prisoner of war camp; and "Surrender of Gen. Lee April 9th 65. Portraits, captioned by last name and some with quotes, depict President and/or Civil War Union officers, including George Washington, Andrew Jackson, Abraham Lincoln, James Garfield, Tecumseh Sherman, Ulysses S. Grant, Phillip Sheridan, George Henry Thomas, David Farragut, Oliver Otis Howard, William Rosencrans, John A. Logan, George McClellan, Winfield Scott Hancock, Benjamin Butler, John C. Fremont, Joseph Hooker, George G. Meade, Ambrose Burnside, Henry W. Halleck, James B. McPherson, George Armstrong Custer, Edward Canby, Winfield Scott, "Maj. Anderson," "Col. Ellsworth," "Pres. U.S.S.C. Dr. Bellows" (Henry Whitney Bellows), and "Supt. of Nurses Miss Dix" (Dorothea Lynde Dix). Pictorial details depict an American eagle with the banner "Pluribus Unum Triumphant" and the American flag; over 20 "U.S. Army Corp Badges"; and patriotic and military symbols, including hats, bugles, cannons, cannon balls, guns, rifles, swords, drums, saddles, and knapsacks. Statistical charts document "Historical Records. Pres. Lincoln's Call for Troops" for 1861, 1862, 1863, and 1864; the "Number of Men furnished by States:," including "U.S. Colored Troops - 93, 441" and "Indin. Nat., 3, 530"; "Total number furnished - 2, 859, 132", and "Reduced to Three Years Standard, 2, 320, 272"; Killed in Battle - 61 362,", "Died of Disease - 153, 538," "Died of Wounds - 34, 727," "Died in Prison - 29,749," "Total Federal Losses - 279, 376" "Money Cost of the War, $6, 189,929, 908 58/100,"and "Number of Battles, Skirmishes, Sieges, etc. - 5, 574";"Important Battles for 1861, 1862, 1863, 1864, and 1865, with "'Sheridan's Ride', Oct 19" "'Sherman's March to the Sea', Nov. 15 to Dec. 13", "Fall of Richmond, April 3," and "Appomattox-Surrender of Lee, April 7-9" especially highlighted., Title from item., Date inferred from copyright statement: Copyright 1881-1883., Contains a number of repaired tears., See William H. Sallada, Silver sheaves: Gathered through clouds and sunshine, in two parts. Second edition (Des Moines: Published by the author, 1879). Digital copy in Hathi Trust., RVCDC, William H. Sallada (1846-1935), Civil War veteran, was a member of the 57th Pennsylvania Infantry Regiment. He became blind during combat during the Siege of Petersburg, Virginia in 1864. In the years following, he worked as a book canvasser, wrote his biography "Silver Sheaves" that was published as a second edition by 1879, and was listed with the occupation publisher in the 1900 census.
Creator: Sallada, W.H. (William H.), 1846-1935, originator
Date: 1883
Location: Library Company of Philadelphia | Print Department **GC - Certificates - Military [P.2023.42.2]

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