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Title: Philadelphia, western & southern trade journal. Illustrated supplement Devoted to the commercial and manufacturing interests of Philadelphia
Description: Advertisement supplement containing 23 titled vignettes depicting and promoting prominent landmarks and businesses within Philadelphia. Landmarks include the State House; Girard College; U.S. Mint at Chestnut and Juniper streets; Merchants' Exchange; Chamber of Commerce at Dock and Walnut streets; Custom House at 420 Chestnut Street; Carpenters' Hall; the Navy Yard at Southwark; and Fairmount Water Works. Businesses include George W. Plumly, paper box manufacturer; Harrison, Havemeyer & Co.'s Franklin Steam Sugar Refinery; R. & G.A. Wright, manufacturers of fine perfumery; F. Gutekunst, photographer; Brooke, Colket & Co., commission merchants; McKeone VanHaagen & Co. Soap Works; Henry Disston's Keystone Saw, Tool & Steel works; Seyfert, McManus & Co.'s Reading Iron Works; Charles Magarge & Co., dealers in paper; Howsons' United States & Foreign Patent Offices; Wilson, Childs & Co., Philadelphia Plantation & Road Wagon Works; Dohan & Taitt, tobacco commission merchants; Lafourcades Brothers & Irwin, importers of cloths, cassimeres & vestings; and Lockwood's Paper Collar Factory. Also contains several passages of text recounting the history of the city and describing the depicted landmarks., Title from item., Various delineators and engravers, including Van Ingen & Snyder, Matthias Reiff Longacre, and Lauderbach & Schell., Accessioned 1992., Description revised 2021., Access points revised 2021., Retrospective conversion record: original entry, edited., 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. 1868]
Location: Library Company of Philadelphia | Print Department ***Ph Pr - Government Buildings [P.9384a-w]

Title: [Series of Clarence E. Brooks & Co. Fine Coach Varnishes, cor. West & West 12th St. N.Y. racist 1880 calendar illustrations after the "Blackville" series]
Description: Series of twelve captioned illustrations from the Clarence Brooks & Co. Fine Coach Varnishes 1880 calendar portraying scenes after the racist “Blackville” series drawn by Sol Eytinge for “Harper’s Weekly” in the 1870s and depicting caricatures satirizing the social mores, customs, and daily lives of African Americans of all classes. The figures are portrayed with exaggerated features and mannerisms. The attire of the figures includes long-sleeved dresses, shirtwaists and skirts, smocks, shirt, pants, jackets, and caps, and hats. Some of the attire depicted, particularly for younger figures, is worn and/or tattered. Includes scenes from the Eytinge Blackville series within a series - “the twins” (March, May, September illustrations). Scenes are titled (sometimes with text in the vernacular) and depict “The First Ulster in Blackville” (January) of a winter scene showing African American children, attired in shirts, pants, or skirts and hats or bonnets, paused from a snowball fight as an African American man in a blue ulster (an overcoat with hood), holding a cane, and smoking walks between them; “Christmas Dinner Done!” (February) showing an older African American man, attired in an overcoat, pants, and hat, and African American boy, attired in a shirt, pants, and a hat with a scarf tied around his head and chin, in a field, and watching a rabbit run away from a trap held by the boy; “Love in Blackville. The Wooing of the Twins” (March) showing African American women twins, each being courted by an African American man within an open room that has a stove and mantle as their older African American parents “watch” from a doorway;, "April-Fools Day-An Aggravated Case (April) showing an older African American woman, with an upset expression, standing in front of a row of cabins and near a basket of cabbages on a town block, and holding a dead rat within a cabbage as she is watched by two snickering African American boys, the practical jokers, standing within the opening to an alley; "The Great Social Event at Blackville. The Wed"ding of the Twins" (May) showing two African American women twin brides and their grooms within a parlor, near a table of food, being married by a reverend in front of friends and family of all ages; "The Coaching Season in Blackville._ The Grand Start" (June) showing an African American driver pulling at the reins of an unruly four-mule team coach of which African American passengers of all ages sit in and on the cab as African American towns folk wave from a line of cabins in the background and an African American boy and dog run past the wheel of the vehicle; "The 'Fourth' in Blackville" (July) showing a fenced paddock in which an African American boy holds an American flag in one hand and a gun in the other by a group of African American children and a woman who run, cover their eyes, jump the fence, and shield each other under the sight of an African American man in the window of an adjacent cabin; “Hi Abe Come Under De Brellar! Does Your Want to Sunstruck Yerself! De Fremoniter’s Gone Up Moren a Foot!” (August) showing a group of African American children of different ages, under a torn umbrella held by the tallest child, a girl, and approaching a young African American boy, “Abe,” within a fenced yard with a pond and patches of greenery and across from a cabin in which an African American man and woman, stand and sit in the doorway;, “After Doing Paris and the Rest of Europe, The Bridal Party Return to Blackville" (September) showing “the twins” on promenade with their husbands and an African American women caregiver holding their two babies as they walk on a dirt path lined by African American townsfolks of all ages who stare and also include an older woman who laughs behind a tree; "Who Struck De Futest?” (October) showing an older African American man, seated outside a cabin, and holding up a switch to two African American boys, in worn clothing, standing within the yard, near a broken object, and across from an African American girl in the cabin doorway and three boys seated and looking over a fence lining the property in the background; The “Small Breeds” Thanksgiving-Return of the First-Born from College 'Bress His Heart! Don’t he look edgecated?' ”(November) showing a young African American man portrayed in disheveled attire and manner as though drunk entering the door to his family, including a grandmother figure and a child in a high chair, at dinner around a cloth-covered table; and “No Small Breed Per Yer Uncle Abe Dis Chris'mas! Ain’t He a Cherub?” (December) showing “Uncle Abe,” an African American man holding a large, plucked turkey (with head and feet) near his chest and on a table surrounded by older women and child-aged family members who stand near a chest of drawers, a stool, and two windows with curtains visible in the background. Exterior scenes also often include a dog or cat, or a cabin or cabins, the latter marked “Clarence Brooks & Co. Fine Coach Varnishes. Cor. West & West 12th St. N.Y.” in the background; as well as fencing, groves of trees, and dirt paths. Interior scenes often include a dining table, chairs, displays of food and household items, such as a candlestick and framed prints advertising Clarence Brooks & Co. April-Fools Day image includes a cobble-stone street., Clarence Brooks established his varnish business in 1859 as Brooks and Fitzgerald, later Clarence Brooks & Co. In the early 1880s the firm issued calendars illustrated with African American caricatures in genre scenes, often after Sol Eytinge Harper’s Weekly illustrations., Title supplied by cataloger., Publication information inferred from image content and similar material issued by Clarence Brooks & Co. during the early 1880s., Two of the series contains ornamented borders (P.2022.8.2 & 4)., All of the prints inscribed in pencil on the verso with the name of a month, some abbreviated, between January and December., Image for “The First Ulster in Blackville” (P.2022.8.1) originally published in Harpers Weekly, March 18, 1876., Image for “Love in Blackville. The Wooing of the Twins” (P.2022.8.3) originally published in Harpers Weekly, May 11, 1878., Image for The Great Social Event at Blackville. The Wedding of the Twins (P.2022.8.5) originally published in Harpers Weekly, July 13, 1878., Image for “The Coaching Season in Blackville._ The Grand Start” (P.2022.8.6) originally published in Harpers Weekly, September 28, 1878., Image for “The ‘Fourth’ in Blackville” (P.2022.8.7) originally published in Harpers Weekly, July 14, 1877., Image for “After Doing Paris and the Rest of Europe, The Bridal Party Return to Blackville” (P.2022.8.9) originally published in Harpers Weekly, October 26, 1878., Image for “Who Struck de Futest” (P.2022.8.10) originally published in Harpers Weekly, June 13, 1874., Image for “No Small Breed fer yer Uncle Abe….” (P.2022.8.12) originally published in Harpers Weekly, January 1, 1876., Purchased with funds for the Visual Culture Program., RVCDC
Date: [1879]
Location: Library Company of Philadelphia | Print Department *ephemera - calendars - C [P.2022.8.1-12]

Title: The Game of Philadelphia Buildings Flashcards
Description: Card game containing fifty-three cards depicting landmarks and historic and well-known sites in the city.

Title: The game of Philadelphia buildings
Description: Card game containing fifty-three cards depicting landmarks and historic and well-known sites in the city. Cards depict (1) State House; (2) Carpenter's Hall; (3) Christ Church; (4) Old Swedes' Church; (5) Bartram's House; (6) Franklin's Grave; (7) University of Pennsylvania; (8) Pennsylvania Hospital; (9) Academy of Natural Science; (10) Franklin Institute; (11) Historical Society of Pennsylvania; (12) Academy of Music; (13) Academy of Fine Arts; (14) Mint (Chestnut and Juniper); (15) Girard College; (16) Custom House; (17) Old Stock Exchange; (18) Cramps' Ship Yard; (19) William Penn's Cottage; (20) Masonic Temple; (21) Odd Fellows' Hall; (22) Reading Terminal; (23) Pennsylvania R.R. station; (24) Union League; (25) Art Club; (26) Mercantile Club; (27) Memorial Hall; (28) Horticultural Hall; (29) Betsy Ross House; (30) Entrance to Zoological Garden; (31) Post Office; (32) Fairmount Water Works; (33) Philadelphia Library; (34) Ridgway Library; (35) New Horticultural Hall; (36) Chestnut Street Theater; (37) Chestnut Street Opera House; (38) Century Club; (39) Twelfth Street Meeting House; (40) Synagogue Rodef Shalom; (41) Cathedral of St. Peter and St. Paul; (42) High School for Girls; (43) Normal School for Girls; (44) High School for Boys; (45) Bourse; (46) Baldwin Locomotive Works; (47) Drexel Institute; (48) Mary J. Drexel Home; (49) Pennsylvania School of Industrial Art; (50) St. George's Hall; (51) St. Peter's Church; (52) City Hall; and (53) [National Export Exposition Building]., Images include statuary; grave stones; site visitors; partial views of adjacent buildings; lampposts; street and pedestrian traffic, including horse-drawn carriages and street cars; signage, broadsides, and posters; window awnings; electrical lines; and trees. Majority of images are reproductions of photographs, except images of Cramp's Ship Yard, High School for Boys, Baldwin Locomotive Works, and the National Export Exposition Building, which are after prints., Publication date based on statement on box cover "Title copyright by Miss Mary S. Holmes 1899.", Box cover contains halftone photomechanical print showing Independence Hall on the 500 block of Chestnut Street. Also shows neighboring buildings, including Congress Hall and the roof of the Public Ledger Building. Vignette of the seal of Philadelphia is visible in the lower left corner., Accompanied by photostat of the rules to play the game and "Key to the Pictures" (1-52), including addresses and years of completion for the sites, signed "Copyrighted by Mary S. Holmes. December, 1898. The Billstein Co., Philadelphia.", Prints numbered in lower left corner, as well as labeled with a letter and sequential number in lower right corner. Letter and sequential number are absent on Card No. 53., Mary S. Holmes was most likely the Philadelphia educator with memberships in the Philadelphia Geographical Society and Teachers' Photographic Association. In the 1890s, she taught at Girls High School and Commerical High School for Girls. She later served as the principal for the Germantown High School for Girls., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Housed in phase box.
Date: [1899]
Location: Library Company of Philadelphia | Print Department albums - Game [8188.F]

Title: [Thomas Richardson and American Bank Note Company scrapbook]
Description: Scrapbook compiled by Philadelphia banknote printer Thomas Richardson containing proofs of illustrations after the work of F. O. C. Darley from Susan Fenimore Cooper's "Pages and Pictures from the Writings of James Fenimore Cooper" (New York, 1861); portrait illustrations, some from J. B. Longacre's "National Portrait Gallery" (probably 1854 edition); and vignette specimens of the American Bank Note Company and their predecessor companies. Cooper illustrations depict scenes on the frontier and ship decks, with Native Americans, and of battles; deathbeds; and of informal meeting from his works The Oak Openings, The Redskins, The Chainbearer, The Pathfinder, The Red Rover, The Monikins, Deerslayer, Homeward Bound, Lionel Lincoln, The Pilot, Last of the Mohicans, The Wept Wish-ton Wish, The Spy, and Wing and Wing. Several also contain animals. Sitters in portrait illustrations include Lewis Cass, Giuseppe Garibaldi, David Ramsay, James Kent, Thomas C. Pope, John McLean, Stephen Decatur, Samuel Rogers, Rev. William Capers, John Binns, Washington Irving, and Noah Webster., Specimen subjects include portraits of prominent government officials, Civil War figures, businessmen, clergymen, royalty, and "fancy heads" of named and unnamed women and children; allegorical figures and scenes, including Bounty, Liberty, Arts, Agriculture, and Commerce; state and symbolic seals and insignia; naval and maritime imagery, including sailors, sailing vessels, and wharf and dock views; modes and venues of transportation, including steamboats, trains, streetcars, and rail stations; white and Black men artisans, laborers, and tradesmen, including drivers, farmers, sheep shearers, and furriers; industrial views of factory workers, mineworkers, and female loom workers, as well as mills and factories along canals and riverfronts; women at work feeding livestock, milking cows, and at a sewing machine; municipal buildings and storefronts; southern imagery, including enslaved people at work, palmetto trees, plantations, and ports; patriotic, historical, military, and scenic imagery; frontier views and scenes with Native Americans; and animals. Specimens with titles include Star of Empire (Princess Eugenie of Sweden) River Source, The Guardian, Locomotive, Autumn Fruit, Sheep Feeding, The Yarn, Trusty, Picking Grapes, The Sickle, The Death Blow, and Propeller Loading. Some specimens used as the backs of national currency., Title supplied by cataloger., Date based on publication date of specimens., Manuscript notes on front free end paper: Aunt Tillie Richardson (cousin Florence's aunt) in pencil; Scrapbook No. 3 in ink., Lincoln Monument Association of Philadelphia certificate pasted on inside front cover and issued to Thos. Richardson on July 4, 1865, signed C. J. Stille, Secy; Alex. Henry, Prest.; and James L. Claghorn, Cashr. Certificate number 6004 and illustrated with bust-length portrait of Lincoln. Charles J. Stillé, was a Philadelphia lawyer who served on the United States Sanitary Commission, and was later Provost of the University of Pennsylvania. Alexander Henry was the mayor of Philadelphia. James L. Claghorn was president of the Commercial National Bank in Philadelphia and an art collector., Stationer's label pasted on back cover: John Alexander, Stationer and Printer, 52 South Fourth St., Various artists, engravers, and printers including F.O.C. Darley, G. H. Cushman, J. Hamilton, Asher B. Durand, C. Schussele, John Sartain, Samuel Sartain, Jas. D. Smillie, E. Prudhomme, H. B. Hall, T. Phillibrown, R. Whitechurch, J. M. Butler, James Bannister, Charles Kennedy Burt, Louis Delnoce, W. W. Rice, American Bank Note Company, Toppan, Carpenter & Co, Baldwin, Bald & Cousland, and Bald, Cousland & Co., Several of the specimens contain a specimen number and/or title., Few of the specimens contain a copyright statement., Specimen #312 (p. 81) and specimen #280 (p. 71) after the work of Emanuel Leutze., Inventory of portrait sitters housed at repository., Identity of several of the artists and engravers supplied by Gene Hessler, The engraver's line: an encyclopedia of paper money & postage stamp art (Port Clinton, OH: BNR Press, 1993)., RVCDC, Accessioned 2012., 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., 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., Thomas Richardson (b. ca. 1802) was a Philadelphia plate printer who served as the foreman of printing at the Philadelphia branch of the American Bank Note Company formed in 1858. He retired from the trade by 1880.
Creator: Richardson, Thomas, 1802-approximately 1881
Date: [ca. 1854-ca. 1861]
Location: Library Company of Philadelphia | Print Department *albums (flat) [P.2012.6]

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