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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: Handicap race presidential stakes 1844
Description: Satire of the presidential election of 1844 depicting the potential candidates; Whig Henry Clay, and Democrats Martin Van Buren, Lewis Cass, John Calhoun, Richard M. Johnson, and John Tyler on various mounts racing for the White House. Clay riding a racoon leads the pack claiming that no one can overtake him. Van Buren follows riding a fox and holding a weather vane labeled "N" (North) and "S" (South) with the slogans "Free Trade Texas" and "Abolition Oregon" attached. He acknowledges that Lewis Cass is closing in. Cass on his hound gloats that he has finally overtaken the "old fox." Calhoun, positioned fourth, rides a lion with an enslaved African American man and child, portrayed in racist caricature, on his shoulders and bemoans his extra weight. Johnson, on foot and holding a hook, follows Calhoun stating he will "hook on" to whomever gets in. Last is Tyler, who switched political parties, trying to ride the two mounts of the "Loco Foco" (radical Democrats) donkey and the "Whig" horse., Title from item., Date from copyright statement: Entered according to act of Congress in year 1844 by J. Childs in the Clerk's Office in the District Court of the Southern District of N.Y., Gift of Mrs. Francis P. Garvan, 1977., Lib. Company. Annual report, 1977, p. 51-52., 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., Clay, born in Philadelphia, was a prominent caricaturist, engraver, and lithographer who created the "Life in Philadelphia" series which satirized middle-class African Americans of the late 1820s and early 1830s.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: 1844
Location: Library Company of Philadelphia | Print Department Political cartoons - 1844-55W [8366.F.36]

Title: Practical illustration of the fugitive slave law
Description: Antislavery print depicting a fight between Northern abolitionists and supporters of the Fugitive Slave Law of 1850. In the left, abolitionist William Lloyd Garrison and an African American man both raise guns to protect an enslaved African American woman who is attired in a head kerchief, earrings, a short-sleeved dress, and shoes. She raises both arms in the air and clutches a handkerchief in her right hand and exclaims “Oh Massa Garrison protect me!!!” Garrison wraps his right arm around her and says, “Don’t be alarmed, Susanna, you’re safe enough.” In the right, the white man mercenary, attired in a top hat with a star on it, who may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend freedom seekers, carries a noose and shackles. He sits astride Secretary of State Daniel Webster, who is on his hands and knees clutching the Constitution and bemoaning, "This, though constitutional, is extremely disagreeable." Behind them a white man, possibly John C. Calhoun, declares "We will give these fellows a touch of Old South Carolina" and carries two volumes labeled "Law and Gospel." Another white man carries a quill and ledger and says "I goes in for Law & Order." In the background, a number of men on both sides fight. A white man lies on the ground on his back. An African American man grabs a white man enslaver by the head and holds a whip while saying “It’s my turn now Old Slave Driver.” A "Temple of Liberty" stands in the background with two flags flying which read, "A day, an hour, of virtuous Liberty is worth an age of Servitude," and "All men are created free and equal.", Title from item., Probable place and date of publication supplied by Reilly., Weitenkampf attributed this cartoon to the New York artist Edward Williams Clay, but Reilly refutes this attribution on the grounds that the draftsmanship, signature, and political opinions are atypical of Clay., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [1850 or 1851]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1851-6 [5760.F.104]

Title: The great presidential race of 1856
Description: Cartoon ridiculing the Democratic and American (Know-Nothings) Party presidential candidates James Buchanan and Millard Fillmore by depicting them in a race to win the election of 1856. Depicts Buchanan having crashed his mount (i.e, running mate John C. Breckenridge depicted as a buck) into a rickety platform marked "Democratic Platform," Slavery," and "Cuba." An enslaved African American man, portrayed with racistly caricaturized features, and wearing shackles on his ankles and worn and torn clothes, shoes, and a hat, stands upon and ridicules the "Democratic Platform." Buchanan angrily replies, "You infernal Black Scoundrel, if it had not been for you and that cursed Slavery Plank that Scared and upset my Buck, I should have won this race certain." Following Buchanan is Fillmore using his running mate Andrew Jackson Donelson, depicted as a goose, as his mount. Fillmore, the American Party candidate, carries a "Know-Nothing" lamp and fears his loss will dissolve the Union. In the distance, the Republican candidate John C. Fremont pulls ahead to the cheers of many of the spectators. Brother Jonathan, (predecessor of Uncle Sam), stands on an observation or judging deck and carries a timer’s watch. Additional spectators include white men belittling Fillmore as "spineless" and a "goose," and a white boy holding a sign inscribed, "We Po'ked Em in 44; We Pierced Em in 52; and We'll 'Buck Em' in 56." He is being hoisted by two African American men, portrayed with racistly caricaturized features, upon the back of a gruff and annoyed-looking, bearded, white man asking him if he's a "Fre'mounter.", Title from item., Artist and publication information supplied by Reilly., Political cartoon Horse sassengers! A free lunch lithographed on recto. (political cartoons - 1858 Hor, P.2275.18b)., 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 the 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: [1856]
Location: Library Company of Philadelphia | Print Department political cartoons - 1858 Hor (verso) [P.2275.18a]

Title: The Democratic platform
Description: Cartoon satirizing politicians' support of James Buchanan and the Democratic platform of 1856. Depicts Buchanan as "the platform" of his party prostrate across the backs of the kneeling antislavery advocate Senator Thomas Benton ("Old Bullion"), President Franklin Pierce ("Franklin the last"), and son of Martin Van Buren, John Van Buren ("Prince John"). An enslaved African American man, portrayed in racist caricature, sits atop Buchanan’s legs with his arms crossed. Sitting opposite him atop Buchanan’s chest is a white man enslaver, armed with a whip, knives, and a pistol, who declares, “I don’t care anything about the Supporters of the platform as long as the platform supports me and my Nigger.” Underneath Buchanan, Benton replies to Pierce's question of how he can be against his administration yet for "this platform" by stating that he supports Buchanan because his motto is "Men - not principles." (This is a reversal of the Democratic motto: "Principles, not men.") Simultaneously, Van Buren talks with his father "Martin the first," depicted as a fox in his "Kinderhook" burrow, about the changing policies of the great Democratic Party and the plunder to be had. Standing in the left, "Brother Jonathan" (predecessor of Uncle Sam) notes the unreliability of the "platform supporters.", Title from item., Date supplied by Weitenkampf., Purchase 1971., 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: [1856]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1856-16W [7996.F]

Title: [Scrapbook with linen pages]
Description: Scrapbook containing scraps, cutouts, periodical illustrations, and trade cards. Contents depict sentimental, genre, and religious scenes; images of children, animals, mothers and mothering; fancy heads; patriotic, historical, and allegorical figures, including George and Martha Washington; advertisements for Philadelphia, Hartford (Conn.), and New York businesses, including promotions for druggists, patent medicines, and soap; imagery documenting the Centennial Exhibition 1876, including portraits of prominent figures; figures in European costumes; scenes of rural life and European scenery; and landscape views. Also includes a small number of views of factories and industrial buildings; a patent medicine advertisement including an African American man servant character opening a door (p. 76); a print depicting a stanza from Robert Burn’s “The Cotter’s Saturday Night” (p. 22); illustrations of Little Red Riding Hood; the periodical cartoon “A Parent’s Vengeance” (p. 53); "La Belle Chocolatiere from the original painting by Leotard now in the Dresden Gallery" (p. 57); a cutout from a women’s fashion plate (p. 77); H.M.S. Pinafore theatrical character illustrations printed by Ledger Job Printing Office (p. 64); and a calling card for Mary S. Bassett (back inside cover)., Businesses represented include B. T. Babbit (soap); Clark’s O.N.T. (thread); C. F. Rump (leather goods); Corning & Tappan (perfumes); Marburg Bros. (tobacco); Devlin & Co. (clothiers); Dundas, Dirk & Co. (pharmacists); [Hiram] Duryea’s Starch Works; Fairbanks scales (E. & T. Fairbanks & Co.); J. Milton Brewer (druggist); C. L. Hauthaway & Sons (shoe polish); Charles S. Higgins (German laundry soap); The New York Bazar (fancy goods, Phillip Isaacs, proprietor); Demorest’s Monthly Magazine (W. J. Demorest, publisher); Edwin C. Burt (shoes); E. P. & Wm. Kellogg; Samuel Gerry & Cos. (patent medicine); Alex. Boost (analytical chemist); Chas. F. Hurd & Co. (chinaware); E. P. & Wm. Kellogg (photographers & art dealers); and Willcox & Gibbs (sewing machines)., Title supplied by cataloger., Front cover stamped: Scrap Book, Various artists, engravers, and printers including F. Beard; Illman Bros.; Ledger Job Print; L. Prang & Co.; Major & Knapp; Thomas Moran; and Shober & Carqueville., Cutouts and calling card pasted to inside front and back covers., Edges of scrapbook leaves contains stitching in different colors, including yellow, green, blue, red, lilac, and purple., Purchased with funds for the Visual Culture Program., Housed in phase box., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1876-ca. 1879]
Location: Library Company of Philadelphia | Print Department albums - Linen [P.2013.69.1]

Title: Worship of the North
Description: Graphic cartoon steeped in Confederate bitterness toward the "Republican" North depicting a scene of Northern idolatry of the African American. Worshippers near a mound of skulls surround a blood-stained altar upon which lies the shackled sacrificed body of American youth. The altar, with a bust of Lincoln dressed as a clown overhead, is constructed from Northern principles such as "Puritanism," "Free Love," and "Negro Worship." Behind the altar an African American man idol, barefoot and bare-chested and portrayed in racist caricature, sits upon the "Chicago Platform." Near the idol stands the statue of "St. Ossawattomi" (i.e., John Brown). The worshippers include General Scott, General Halleck and a loot-laden General Butler, as well as Secretary Edwin Stanton, John Fremont, a knife wielding Henry Ward Beecher, a torch carrying Charles Sumner, Horace Greeley with a censer, and Harriet Beecher Stowe, praying and kneeling atop a volume of Uncle Tom's Cabin. Printed in the top corners is "Ego.", Published in: Sketches from the Civil War in North America (London [i.e., Baltimore]: [the author], 1863-1864), pl. 1., Issued as plate 1 in Sketches from the Civil War in North America (London [i.e., Baltimore]: [the author], 1863-1864), a series of pro-Confederacy cartoons drawn and published by Baltimore cartoonist Adalbert John Volck under the pseudonym V. Blada. The "first issue" of 10 prints (numbered 1, 2, 5, 6, 7, 12, 15, 16, 21, 24), with imprint "London, 1863" were printed as etchings. The remaining 20 prints (numbered 4, 8, 9-11, 14, 17-20, 23, 25-27, 29, 30, 32, 33, 40, 45) headed "Second and third issues of V. Blada's war sketches" and dated "London, July 30, 1864" were printed as lithographs., Title and publication information from series at Brown University Library., Accessioned 1979., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Aldabert Volck (1828-1912), i.e., V. Blada, was a prominent Southern cartoonist from Baltimore who is best known for his 1863 work "Sketches from the Civil War," later republished circa 1886 by Porter & Coates in Philadelphia under the title "Confederate War Etchings."
Creator: Volck, Adalbert John, 1828-1912, artist
Date: [1863]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1863 - Wor [P.2275.6]

Title: Life in New York
Description: Collection of primarily racist social caricatures lampooning the etiquette and conventions of early 19th-century, middle-class New Yorkers, particularly the growing community of free African American persons. Eliciting the heightened racism in the antebellum North, the African American men, women, and children characters are depicted with exaggerated features, wearing boldly-patterned and colored clothes, and speaking in a vernacular to be portrayed and denigrated as illegitimate elite society. Caricatures also address “rules” of courtship, fashion, classism, and a dance lesson. Some caricatures also represent the sexism and ethnic divisions of the era., Influenced by the "Life in Philadelphia" series of 1828-1830, the series consists of at least eight prints published around 1830 by eminent New York lithographer Anthony Imbert. Although often attributed to Edward W. Clay, the different styles of the caricatures imply that the prints were executed by various artists employed by Imbert. The African American caricature, "A Five Points Exclusive," a lithograph published in the early 1830s by John Pendleton, an associate of Imbert, has been included as a part of the series., Serie title from items., Dates inferred from content and names of publishers., Original series contained at least eight prints., LCP holds four of the series. Three are first editions., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 93-95. (LCP Print Room Yz, A423.O), Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022.
Date: 1830-ca. 1834, bulk 1830
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set)

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, 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.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, 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.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

Title: Political caricature no.3. The abolition catastrophe, or the November smash-up
Description: Title from item., Date from copyright statement: Entered according to act of Congress in the year 1864 by Bromley & Co. New York in the Clerk's office of the District Court of the United States for the Southern District of New York., Text printed on recto: Single Copies sent pr. mail post paid 25 cts; 5 Copies $1.00; 50 express $9.00; 100 $16.00. Express charges paid by purchaser. Address: Bromley & Co., Box 4265 New York City. Write your address: Post Office, County and State plainly., Third in a series of four., McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Cartoon criticizing the Republican's self-destructive support of abolitionism during the presidential election of 1864 depicting the "Union" train of Democrats steaming toward the White House passing the wrecked Republican train. Candidate George McClellan engineers the smooth running Democratic train powered by "Democracy" and adorned with the flag "Constitution." Several of the passengers including Horatio Seymour praise McClellan as others mock the Republican Party's demise. The Republican train has crashed into several rocks symbolic of the war including "Abolitionism," "Confiscation," and "Emancipation." The crash ejects Abraham Lincoln. Several African Americans, who are depicted in racist caricature and speak in the vernacular, are crushed and maimed. Tossed and injured prominent Republican passengers include Edwin Stanton; Horace Greeley; Henry Ward Beecher who holds an African American baby; Charles Sumner; William Seward; John McKeon; Benjamin Butler and Thurlow Weed; many of whom pray for help. "John Bull," Emperor Maximilian of Mexico, and France's Napoleon III observe and comment on the crash's effect on the puppet empire of Mexico. Another observer, recently resigned Secretary Salmon P. Chase, expresses relief that he left the Republican train in the "nick of time."
Date: 1864
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1864-39R [5793.F.2]

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