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Title: No. 9 Coming events
Description: Ninth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Shows "Dr. Black MD" on his donkey racing with the twins' husbands on their donkeys down a dirt road along a river. A raft sails on the river past a log cabin and a dwelling with smoke-spewing chimneys is visible in the background., Title from item., Name of publisher inscribed in original drawing., Date from copyright statement inscribed in original drawing: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist from stamp on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.8]

Title: [Gutekunst and Haldt family cased photograph collection]
Description: Collection of cased photographs of sitters related to cabinet maker Frederick Gutekunst, his son and photographer Frederick Gutekunst, and his son-in-law and photographer Jacob Haldt. Majority of the sitters (men, women, and children) are unidentified. Identified sitters include Frederick L. Gutekunst, and Katherine (Katie) Gutekunst, son and daughter of photographer Gutekunst, photographer Jacob Haldt, and Tomas Hernandes, “the friend who was with Mr. Peale since he came to Pto [ Puerto] Rico until the last moment.” Includes bust, half, three-quarter, and full-length portraits with sitters mostly posed seated. Many of the women sitters wear long-sleeved dresses with collars. Some images also include a scenic backdrop (P.2020.12.13) or depict props, including side tables and a book on which an unidentified girl leans as she sits on a table (P.2020.12.11). Also includes a daguerreotype depicting a woman holding a baby inscribed “Isaac, Mary Jane & Charles Burr” on verso of the plate., Title supplied by cataloger., Date inferred from photographic medium and age and attire of sitters., Photographers include Frederick Gutekunst, Gutekunst & Bro., and Lemuel H. Purnell., Various-shaped mats, including oval, elliptical, double elliptical, square, and quarterfoil., Various colored pads, including red, purple, black, green, and maroon velvet, some with embossing. Embossings include photographer’s imprints and/or imagery. Imagery includes floral and ornament designs and scroll work., Leather and thermoplastic cases. Case designs vary, and include floral, ornament, emblem, geometric, and scroll designs. Designs also include a double-sided bookcase format as well as Seated woman holding child and pets, plate 30 and Berry motif, plate 99 in American miniature case art by Floyd and Marion Rinhart (Cranbury, New Jersey: A.S. Barnes and Co., Inc., 1969)., P.2020.12.2-3 and P.2020.12.6-9 contains daguerrean's imprint on pad., Several of the images contain weeping glass deterioration, tarnished plates, or other damage., Basic inventory of collection available at repository.
Date: [ca. 1850-ca. 1870]
Location: Library Company of Philadelphia | Print Department cased photos - Gutekunst and Haldt Family [P.2020.12.1-22]

Title: Clark's mile-end 60 spool cotton
Description: Racist trade card promoting Clark Thread Company and depicting a genre scene of an African American man and woman in conversation on a country road. The man and woman are portrayed with exaggerated features and speaking in the vernacular. Shows, in the left, the man standing on a dirt road and holding a piece of thread attached to a giant spool labeled "Clark's mile-end 60 spool thread." He is attired in black boots; yellow striped pants with patches on the knees and rolled to his calves; a white shirt; a red vest; and a green jacket. His straw hat is upturned on the ground beside him. In the right, an African American woman sits in a horse-drawn wagon holding the reins to a white horse. She tells the man "luck I got a spool to mend yer clos' with." She is attired in a yellow head kerchief and a red dress with yellow trim at the neck. The George A. Clark & Brother Company, manufactory of embroidery and sewing thread, was founded in 1863 in Newark, N.J. The firm was renamed Clark & Co. in 1879, and in the 1880s created a six-cord, soft finished thread called "Our New Thread" or "O.N.T." The business merged with J. & P. Coats in 1896, which lead to a series of mergers with fourteen other companies. Into the 21st century, the company continues to manufacture thread under the name Coats & Clark., Title from item., Place of publication deduced from place of operation of advertised business., Date deduced from history of the advertised business., Text on recto: Ef dat mile end thread don't hold, dere ain't anything- lucky I got a spool to mend yer old clos' with., Advertising text printed on verso: Clark's Mile-End Spool Cotton is the best for hand and machine sewing. Clark's Mile-End Colors are made expressly to match the leading shades of dress goods, and are unsurpassed both in quality and color. Clark's Mile-End Spool Cotton is six-cord in all numbers to 100 inclusive., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Clark [P.2017.95.33]

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

Title: Clark's mile-end 60 spool cotton
Description: Racist trade card promoting Clark Thread Company and depicting a genre scene of an African American man and woman in conversation on a country road. The man and woman are portrayed with exaggerated features and speaking in the vernacular. Shows, in the left, the man standing on a dirt road and holding a piece of thread attached to a giant spool labeled "Clark's mile-end 60 spool thread." He is attired in black boots; yellow striped pants with patches on the knees and rolled to his calves; a white shirt; a red vest; and a green jacket. His straw hat is upturned on the ground beside him. In the right, an African American woman sits in a horse-drawn wagon holding the reins to a white horse. She tells the man, "Ef dat mile end thread don't hold, dere ain't anything - lucky I got a spool to mend yer old clos' with." She is attired in a yellow head kerchief and a red dress with yellow trim at the neck. The George A. Clark & Brother Company, manufactory of embroidery and sewing thread, was founded in 1863 in Newark, N.J. The firm was renamed Clark & Co. in 1879, and in the 1880s created a six-cord, soft finished thread called "Our New Thread" or "O.N.T." The business merged with J. & P. Coats in 1896, which lead to a series of mergers with fourteen other companies. Into the 21st century, the company continues to manufacture thread under the name Coats & Clark., Title from item., Place of publication deduced from place of operation of advertised business., Date deduced from history of the advertised business., Text on recto: Ef dat mile end thread don't hold, dere ain't anything- lucky I got a spool to mend yer old clos' with., Advertising text printed on verso: Clark's Mile-End Spool Cotton is the best for hand and machine sewing. Clark's Mile-End Colors are made expressly to match the leading shades of dress goods, and are unsurpassed both in quality and color. Clark's Mile-End Spool Cotton is six-cord in all numbers to 100 inclusive., Stamp on the recto is illegible., See related copy: Goldman Trade Card Collection - Clark [P.2017.95.33]., Gift of George Allen, 2022., RVCDC
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Trade cards - C - Clark's [P.2022.42.7]

Title: Celluloid cuffs, collars & bosoms, water & perspiration proof
Description: Trade card advertising J.H. Richelderfer’s celluloid collars and cuffs and depicting a racist caricature of a Chinese man at the beach watching a white man demonstrate the waterproof qualities of his celluloid cuffs, collar, and bosom or bib. In the center, the white man, wearing a mustache and attired in a red robe, red-and-yellow striped shorts, and white celluloid cuffs, collar, and bosom, stands in the ocean with water dripping down his clothes, showing that they are waterproof. In the right, a Chinese man, wearing a queue hairstyle, a red tunic, blue pants, and slip-on, cloth shoes, carries two sacks of laundry and looks over at the man in the water. In the left, a white man, attired in a straw hat, a white collared shirt, a red vest, yellow striped pants, and red shoes, sits on the sand holding an umbrella and wipes perspiration from his face with a handkerchief. In the background, a white man swims in the water and a boat is visible., Title from item., Date inferred from content., Stamped on recto: J.H. Richelderfer, 1032 Chestnut St., Phila., Text printed on verso: Waterproof linen, patented. Ladies’ and gent’s cuffs, collars and bosoms, made from celluloid. Waterproof, elastic, durable. These goods are far superior to any Linen Goods yet placed before the public, and in recommending them, we would call attention to some of their remarkable features, which will commend their use to all who study economy, neatness and beauty. 1sr. The interior is fine linen. 2d. The exterior is celluloid. 3d. The unison 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 cleanse with soap and water. 5th. The goods never wilt or fray on edges and are perspiration proof. The best preparation to effectually cleanse them is celluline. For sale by all gent’s furnishing and fancy goods houses throughout the country., RVCDC
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department trade card - Richelderfer [1975.F.745]

Title: Life in Philadelphia. "Have you any flesh coloured silk stockings...?"
Description: Racist caricature of an African American woman shopping for a pair of "flesh coloured silk stockings" in a hosiery store with a white male sales clerk speaking with a French dialect. Depicts, in the center right, the woman standing at the counter in front of the clerk who holds up a pair of gray-colored stockings from out of a rectangular box. She is attired in a pink floral patterned dress, as well as tall, wide-brimmed pink hat adorned with several flowers, greenery, and a veil and long yellow ribbon, and yellow gloves, earrings, and blue button-up boots. She rests her yellow, flower-patterned purse on the counter and holds up a monocle from the end of her neck fob to inspect the stockings that the clerk declares are of "de first qualite!" Her red parasol rests against the counter. Rows of red, blue, and yellow stockings hang on the wall behind the clerk. The clerk is attired in a blue waistcoat with tails, a yellow vest, red cravat, and white pants. In the right, an African American woman attired in a yellow polka dot dress and tall, wide brimmed yellow hat adorned with ribbons is seen in the doorway of the shop in which multi-colored curtains hang and are pushed to the side. The wheel of a carriage is seen behind the woman. The figures are portrayed with oversized and exaggerated features. The women’s skin tone is depicted with brown hand coloring. The man is depicted with rosy cheeks and brown, curled hair., Title from print., Date from print., Inscribed: Plate XI., Inscribed: Copy Right Secured., Contains five lines of dialogue in the vernacular and dialect above the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: May 1829
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.2004.39.1]

Title: Sketches of character. Plate 2. At home. Plate 3. Abroad
Description: Racist caricature contrasting two scenes of the same African American couple "At Home" and "Abroad." The "At Home" scene depicts the couple in their kitchen with a wood floor washing dishes together. In the right, the woman, attired in a kerchief, short sleeves, apron, skirt, and slip on shoes, is bent over and washes the dishes in a tub on a stool. In the left, the man, barefoot and attired in a shirt with the sleeves rolled up, vest, bow tie, and pants, sits on the edge of a butcherblock table on top of which a pile of dishes rests, and dries one. The man and woman look at each other. In the background, on the wall, cooking utensils, pots and pans, and a slab of bacon hang from hooks underneath a shelf lined with cook and dishware near a large woven basket, a cupboard, and a small shelf with two bottles. The "Abroad" scene depicts the pair well attired and about to promenade down a city street, possibly Philadelphia and from near Independence Hall. The woman wears a large plumed bonnet with a veil and a ribbon tied under her chin, a blue cape over a dress giving her the appearance of a bell, and gaiter-like shoes. Her husband wears spectacles, a top hat, white shirt, yellow vest, black waist coat, grey pants, and yellow gloves. He holds a walking cane down toward the ground in his left hand and his other arm out to his companion. A guardhouse is seen in the right and the edge of a building (possibly Independence Hall) in the left. Cityscape is visible in the distant background. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in brown hand coloring., Title and date from item., Copy right secured., Lib. Company. Annual Report, 2013, p. 51., Purchased with the Davida T. Deutsch African American History Fund., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Clay, Edward Williams, 1799-1857
Date: January 12, 1830
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.2013.74]

Title: Sketches of character. Plate 2. At home. Plate 3. Abroad
Description: Racist caricature contrasting two scenes of the same African American couple "At Home" and "Abroad." The "At Home" scene depicts the couple in their kitchen with a wood floor washing dishes together. In the right, the woman, attired in a kerchief, short sleeves, apron, skirt, and slip on shoes, is bent over and washes the dishes in a tub on a stool. In the left, the man, barefoot and attired in a shirt with the sleeves rolled up, vest, bow tie, and pants, sits on the edge of a butcherblock table on top of which a pile of dishes rests, and dries one. The man and woman look at each other. In the background, on the wall, cooking utensils, pots and pans, and a slab of bacon hang from hooks underneath a shelf lined with cook and dishware near a large woven basket, a cupboard, and a small shelf with two bottles. The "Abroad" scene depicts the pair well attired and about to promenade down a city street, possibly Philadelphia and from near Independence Hall. The woman wears a large plumed bonnet with a veil and a ribbon tied under her chin, a blue cape over a dress giving her the appearance of a bell, and gaiter-like shoes. Her husband wears spectacles, a top hat, white shirt, yellow vest, black waist coat, grey pants, and yellow gloves. He holds a walking cane down toward the ground in his left hand and his other arm out to his companion. A guardhouse is seen in the right and the edge of a building (possibly Independence Hall) in the left. Cityscape is visible in the distant background. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in brown hand coloring., Title and date from item., Copy right secured., Lib. Company. Annual Report, 2013, p. 51., Purchased with the Davida T. Deutsch African American History Fund., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Clay, Edward Williams, 1799-1857
Date: January 12, 1830
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.2013.74]

Title: Life in Philadelphia. "Have you any flesh coloured silk stockings...?"
Description: Racist caricature of an African American woman shopping for a pair of "flesh coloured silk stockings" in a hosiery store with a white male sales clerk speaking with a French dialect. Depicts, in the center right, the woman standing at the blue and pink counter in front of the clerk who holds up a pair of gray-colored stockings from out of a rectangular box. She is attired in a pink floral patterned dress, as well as tall, wide-brimmed blue hat adorned with several flowers, greenery, and a veil and long yellow ribbon, yellow gloves, earrings, and blue button-up boots. She rests her blue, flower-patterned purse on the counter and holds up a monocle from the end of her neck fob to inspect the stockings that the clerk declares are of "de first qualite!" Her brown parasol rests against the counter. Rows of stockings, including in the color of blue, hang on the wall behind the clerk. The clerk is attired in a green waistcoat with tails, a yellow vest, red cravat, and white pants. In the right, an African American woman attired in a yellow polka dot dress and tall, wide brimmed hat adorned with blue ribbons is seen in the doorway of the shop in which blue curtains hang and are pushed to the side. The wheel of a carriage is seen behind the woman. The figures are portrayed with oversized and exaggerated features. The women’s skin tone is depicted with black hand coloring. The man is depicted with rosy cheeks and brown, curled hair., Title from print., Date inferred from content., Inscribed: Plate XI., Inscribed: Copy Right Secured., Probably published by Sarah Hart of Philadelphia., Contains five lines of dialogue in the vernacular and dialect above the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.9701.9]

Title: Life in Philadelphia. "Have you any flesh coloured silk stockings...?"
Description: Racist caricature of an African American woman shopping for a pair of "flesh coloured silk stockings" in a hosiery store with a white male sales clerk speaking with a French dialect. Depicts, in the center right, the woman standing at the blue and white counter in front of the clerk who holds up a pair of brown-colored stockings from out of a rectangular box. She is attired in a pink floral patterned dress, as well as tall, wide-brimmed pink hat adorned with several flowers, greenery, and a veil and long yellow ribbon, white gloves, earrings, and tan button-up boots. She rests her white, flower-patterned purse on the counter and holds up a monocle from the end of her neck fob to inspect the stockings that the clerk declares are of "de first qualite!" Her green parasol rests against the counter. Rows of stockings, including in the color of blue and pink, hang on the wall behind the clerk. The clerk is attired in a tan waistcoat with tails, a white vest, purple cravat, and purple pants. In the right, an African American woman attired in a blue polka dot dress and tall, wide brimmed hat adorned with ribbons is seen in the doorway of the shop in which purple and white curtains hang and are pushed to the side. The wheel of a carriage is seen behind the woman. The figures are portrayed with oversized and exaggerated features. The women’s skin tone is depicted with black hand coloring. The man is depicted with dark brown, curled hair., Title from item., Date inferred from content., Plate 11 of the original series published in Philadelphia., After the work of Edward W. Clay., Possibly by New York lithographer Curtis Burr Graham (1814-1890)., Contains five lines of dialogue in the vernacular and dialect above the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (New York Set) [P.9701.10]

Title: Life in Philadephia [sic]. The valentine
Description: Racist caricature depicting an African American man reading a comic valentine in his bedroom as he prepares for bed. Shows the bearded man, beside a bed with a pink canopy, holding the back of a tilted chair (his waistcoat on it) with his left hand and holding up the valentine illustrated with a picture of the devil in his right hand. The man is portrayed with an angry expression and standing with his feet far apart. He wears a night cap, a blue-striped shirt, a black neck tie, brown pantaloons from which a watch fob hangs, white stockings and one red slipper. A water pitcher and boots lie near his feet. In the left, an African American woman, smiles, and stands behind the ajar bedroom door. She wears a night bonnet, neckerchief, short-sleeved shirt, blue skirt, and black slippers. A stairwell is seen behind her. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item,, Date inferred from content and name of publisher., Contains one bubble of dialogue in the vernacular within the image: Holl’a! What’s all dis about_. “De rose is Red de Violets blue” De Debils Black and so are You. Well dat’s bery Fair indeed., Inscribed: No. 6., Charles Hunt was a respected 19th-century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.6]

Title: Life in Philadelphia. Romeo and Juliet
Description: Racist caricature depicting an African American man-woman couple in the characters of Romeo and Juliet during the balcony scene from Shakespeare's "Romeo and Juliet." In the right, "Romeo" wearing an Elizabethan costume including a plumed white hat, red cape, and white sash, holds his right, gloved hand over his heart and his left, ungloved hand out and holding the edge of his cape. He recites, "How silver sweet sounds Lubbers Tongues by Night, like sorpest Music to attending Ears." In the left, from the balcony, "Juliet" responds with the self-derogatory remark that as her complexion is "de mark of night" it is impossible to see that "a maiden blush bepaint" on her cheek. She is attired in a pink puffed sleeve, décolleté dress, earrings, a necklace, and hair adornment. She holds a glove and fan in her right gloved hand at her side and her left hand rests on the balustrade of the balcony. A rose vine climbs up the balcony and the tops of trees and a balustrade are visible behind “Romeo.” Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains two lines of dialogue in the vernacular below image: Romeo: How silber sweet, sounds Lubbers Tongues by Night; like sorptest Music to attending Ears./Juliet: Dou know’st de mask ob night is on my face, else would a maiden blush bepaint my cheek., Signed W.S. for William Summers in lower right corner., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9713.4]

Title: Life in Philadelphia. Sketches of character: At home. Abroad
Description: Racist caricature contrasting two scenes of the same African American couple "At Home" and "Abroad." The "At Home" scene depicts the couple in their kitchen with a wood floor washing dishes together. In the right, the woman, attired in a striped kerchief, short sleeves, apron, skirt, and slip on shoes, is bent over and washes the dishes in a tub on a stool. In the left, the man, barefoot and attired in a shirt with the sleeves rolled up, red vest, bow tie, and pants, sits on the edge of a butcherblock table on top of which a pile of dishes rests, and dries one. The man and woman look at each other. In the background, on the wall, cooking utensils, pots and pans, and a slab of bacon hang from hooks underneath a shelf lined with cook and dishware near a large woven basket, a cupboard, and a small shelf with two bottles. The "Abroad" scene depicts the pair well attired and about to promenade down a city street, possibly Philadelphia and from near Independence Hall. The woman wears a large plumed black and yellow bonnet with a veil and a ribbon tied under her chin, a blue cape over a red dress giving her the appearance of a bell, and gaiter-like shoes. Her husband wears spectacles, a top hat, red-striped shirt, vest, green waist coat, brown pants, and grey gloves. He holds a walking cane down toward the ground in his left hand and his other arm out to his companion. A guardhouse is seen in the right and the edge of a building (possibly Independence Hall) in the left. Cityscape is visible in the distant background. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in brown hand coloring., Title from item., Date inferred from content and name of publisher., Inscribed: Pl. 10., After plate by E.W. Clay originally printed by C.G. Childs and published by Clay in Philadelphia in 1830., Charles Ingrey was one of the premier London lithographic printers of the 1830s., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Harrison, H., artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9716]

Title: The Philadelphia dandies. A group of fashionables. "Shoot folly as it flies."
Description: Caricature lampooning "fashionable" middle-class Philadelphians depicting two scenes of “belles” being greeted. The first scene portrays a white belle, in the right, being greeted by a white dandy, in the left, who holds up a monocle in his left hand and asks, "How do you do?" They are each bent over and face each other. The dandy is attired in a white ruffled shirt, blue waistcoat, tan pants, and grey boots with spurs. He holds down a black top hat from which a cane hangs in his right hand. The belle is attired in a large green bonnet that curves at the back of her head and that is adorned with feathers and a ribbon, a pink, long-sleeved, knee-length, belle-shaped dress, and boots. She holds a green umbrella up in her right hand toward the raised arm of the dandy and the back of her dress has risen up. A pug-like jumps up and barks at her from behind. She responds that she is “rather cold.” The second scene depicts a white belle being greeted by a "fashionable" white woman and girl whose hand she holds. The women and girl are all similarly attired in large bonnets adorned with flowers, long-sleeved, high waisted, calf-length dresses in pink or green, and boots or ankle-laced shoes. They are also portrayed with stooped postures and accentuated posteriors. The woman with the child also holds a pink purse in the same hand as that of the girl who also wears pantalettes and holds a green parasol in her left hand. A third woman wearing a mortarboard style hat adorned with feathers, a long-sleeved, calf-length, high-waisted dress with under skirt, and boots, holds a spear-shaped umbrella over her shoulder and "marches" passed them in the right. Also, shows a pug-like dog standing in the left by the women who greet each other., Title from item., Date inferred from content., Contains two bubbles of dialogue within image of first scene: How do you do? How do you do? Madam! How is it with you today? It is rather Cold, sir!-, This caricature is similar in content to the prints from the series, "Life in Philadelphia" (London Set), and has been catalogued as part of the series., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Kensett, Thomas, 1786-1829, engraver
Date: [ca. 1820-ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9720]

Title: No. 1. The flirtation
Description: First scene based on a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the African American twins greeting two African American men. They depart from the gate of their log cabin home, attired in polka dot dresses, aprons, and turned-up brimmed hats. They smile at the two African American men as they begin their walk. One twin lifts her handkerchief. One of the men is tall and thin and he tips his hat. The other is shorter and squat and has a hand on his chest. The men are attired in suits with striped pants that are hemmed high. The twins' log cabin home with their parent's seeing them off is visible in the left background. Background also includes the log cabin with "Dr. Black’s Office"; the town church; a "Dry Goods and Clothing” store; a "Saloon"; and a "Hotel.”, Title from item., Name of publisher from other photographs in series., Date from copyright statement on original drawing: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.1]

Title: No. 2 The introduction
Description: Second scene based on a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the “twins,” side-by-side, curtseying to their two male suitors (one tall and one squat) who stand across the parlor. The tall one bows with his hat in hand. The suitors’ mother, portrayed with a face with many wrinkles and attired in a polka dot dress, stands between the pairs. The room is adorned with a table that holds a vase of flowers, an album, and a glass. Framed pictures, including a portrait, as well as a cuckoo clock adorn the walls near a window with a partially rolled-up window shade. The twins are attired in polka dot dresses and the men in suits., Title from item., Inscribed on original drawing: Remodeled from sketch in Harpers Weekly., Date from copyright statement in other photographs in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Name of publisher from other photographs in series., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.2]

Title: No. 3 The courting
Description: Third scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the twins and their suitors, seated in an open room with a stove by a mantle. In the left, one twin sits face to face with her tall suitor. She looks down and raises her hand to her mouth. In the right, the other twin sits next to her suitor and smiles. The twin holds a fan to her face. A hat and coat hang on the wall above them. The twins' parents watch from a doorway in the left background. The twins are attired in polka dot dresses and the men in suits., Title from item., Inscribed on original drawing: Reproduced from sketch by Sol Eytinge from Harpers Weekly., Date from copyright statement in other photographs in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Name of publisher inscribed on original drawing., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.3]

Title: No. 4 The proposal
Description: Fourth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Scene shows the twins and their suitors, seated in an open room with a stove by a mantle. The tall suitor of the twin in the left kneels on the floor, his chair fallen behind him, and proposes to her as he holds her right hand. She covers her mouth with the other. The twin of the couple in the right sits on her suitor’s lap as he holds her. Her foot rests on his hat on the floor, and she holds a fan down on her legs. The parents of the twins, an older couple, stand, their mouths ajar, in an open entryway in the left background. Keepsakes and knick knacks adorn the mantle behind the stove. A coat and hat hang above the couple in the right. The twins are attired in polka dot dresses and the men in suits., Title from item., Date from copyright statement inscribed on original drawing: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Name of publisher from other photographs in series., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.4]

Title: No. 6 The wedding
Description: Sixth scene in a racist series of African American caricatures originally created for Harper's Weekly in 1878 by Sol Eytinge that satirized the courtship and marriage of and the start of families by "The Twins." The African American figures are depicted with exaggerated features and mannerisms. Shows the twins getting married in the parlor in which they were introduced to their fiancés (see No. 2 The Introduction). The twins are attired in white wedding dresses and veils and their betrothed in formal suits. An older African American reverend stands in front of them and officiates. Their relatives, including an older woman, attired in a bonnet, and seated in a rocker and holding in her lap a boy, attired in a striped suit with ruffled collar, watch the nuptials from behind them. "Dr. Black" and other acquaintances watch from through a doorway. Framed pictures adorn the wall. A table with a cake and a decanter with glasses is visible behind the reverend., Title from item., Name of publisher inscribed on original drawing: Cartoon Printing Co. Chicago., Date from copyright statement in other photographs in series: Copyrighted 1881 John McGreer, Chicago, Ill., Name of artist stamped on verso: McGreer Chicago., Purchased with the Davida T. Deutsch African American History Fund., Lib. Company. Annual Report, 2017, p. 52., RVCDC, Desciption revised 2022., Access points revised 2022.
Creator: McGreer, John, 1839-1908
Date: 1881
Location: Library Company of Philadelphia | Print Department photo - 5 x 7 - Unid. - Events [P.2017.26.6]

Title: Testimonial banquet to Ms. Eugenia M. Neal. Daughter Ruler Keystone Temple, No. 448 I.B.P.O.E.W., Dec. 8, 1930. O. V. Catto Elks Home, Philadelphia
Description: Panoramic group portrait photograph depicting over one hundred African American men and women, of all ages, at a testimonial banquet of the Improved Benevolent Protective Order of Elks of the World for Eugenia Neal (1873-1949). The attendees, attired in evening wear, sit at rows of tables and a few booths in the right of the room. Attendees wear suits, tuxedos, and evening and cocktail dresses. Most of the sitters do not smile and face the camera. Some are turned away or eating. Some of the men wear their I.B.P.O.E.W. fezzes. In the right background, one woman has an arch of flowers over her. The tables are covered in white tablecloths and lined with plates of food, serving platters, and silver pitchers. In the background, at the back of the room, a small band of men musicians is seated next to a woman at a piano. Streamers and a paper bell adorn the ceiling. The O.V. Catto Elks Lodge began in 1903 as a chapter of the Improved Benevolent Protective Order of Elks of the World established in 1897 with a mission to "practice charity by providing and performing charitable services in our communities throughout the world and by promoting harmony, friendship, and unity among our esteemed members." By 1926, the Lodge had over 3000 members, and in 1929, it relocated to a new building that included a boxing ring, basketball court, and rooftop garden, at 16th and Fitzwater. Eugenia Neal, born Eugenia Brisby in Virginia, worked as a typesetter in Philadelphia by 1920. Married to Moses Neal in 1896, the couple resided in Atlantic City before relocating to Philadelphia by 1910. As a Daughter Ruler, Neal lead the Keystone Temple with her male counterpart, Exalted Ruler, and "under their leadership, all Elks shall show[ed] truth in activities and live[d] to help others, while promoting Brotherly and Sisterly Love to all.", Title and date from item.
Date: [1930]
Location: Library Company of Philadelphia | Print Department framed graphics [P.2023.5]

Title: Celluloid waterproof collars, cuffs & shirt bosoms Economical, durable, handsome
Description: Trade card advertising J.H. Richelderfer’s celluloid collars and cuffs and depicting racist caricatures of Chinese men laundry workers in shock when a white man holds up a box of celluloid collars and cuffs. In the left, a white man, attired in a black bowler hat, a white collared shirt, a red bowtie and waistcoat, a blue-and-white checked suit, and black shoes, stands holding and pointing his finger to a box labeled, “Wear Celluloid Cuff & Collars.” Four Chinese men laundry workers jump up in surprise on their tiptoes with their mouths open and grimacing and their queue braids flying straight up into the air. The men have long fingernails and are attired in gold hoop earrings, colorful clothes, including yellow, red, or green tunics, and yellow or blue short pants, and cloth, slip-on shoes. In the left, one laundry worker stands behind the white man with his hands in a steaming washtub. Also visible are two baskets full of laundry on the ground, a table with irons on top, and white sheets hanging on a line. The text, “The Last Invention” is printed on the bottom right., Title from item., Date inferred from content., Stamped on recto: J.H. Richelderfer, Gent’s furnishing and over-gaiters, 1032 Chestnut St., S.E. Cor. of 11th., Text printed on verso: Celluloid (Waterproof linen.) Collard, cuffs and shirt bosoms. The following will commend the use of these goods to all who study convenience, neatness and economy. The interior is fine linen. The exterior is Celluloid – the union of which combines the strength of Linen with the Waterproof qualities of Celluloid. The Trouble and expense of washing is saved. When soiled simply rub with soap and water (hot or cold) used freely with a stiff brush. They are perspiration proof and are invaluable to travelers, saving all care of laundrying. Advice. In wearing the turn-down Collar, always slip the Necktie under the roll. Do not attempt to straighten the fold. The goods will give better satisfaction if the Separable Sleeve Button and Collar Button is used. Twist a small rubber elastic or chamois washer around the post of Sleeve Button to prevent possible rattling of Button, To remove Yellow Stains, which may come from long wearing, use Sapolio, Soap or Saleratus water or Celluline, which latter is a new preparation for cleansing Celluloid. Goods for sale by all dealers., RVCDC
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department trade card - Richelderfer [1975.F.728]

Title: Life in Philadelphia. "Have you any flesh coloured silk stockings...?"
Description: Racist caricature of an African American woman shopping for a pair of "flesh coloured silk stockings" in a hosiery store with a white male sales clerk speaking with a French dialect. Depicts, in the center left, the woman standing at the brown counter in front of the clerk who holds up a pair of black-colored stockings from out of a rectangular box. She is attired in a red floral patterned dress, as well as yellow tall, wide-brimmed floral-patterned hat adorned with tan flowers, greenery, and a veil and long yellow floral-patterned ribbon, white gloves, earrings, and brown button-up boots. She rests her white, polka-dot-patterned purse on the counter and holds up a monocle from the end of her neck fob to inspect the stockings that the clerk declares are of "de first qualite!" Her black parasol rests against the counter. Rows of black, white, pink, and yellow stockings and fashion accessories hang on the wall behind the clerk. The clerk is attired in a green waistcoat with tails, a blue vest, white cravat, and white pants. In the left, an African American woman attired in a white polka dot dress and tall, wide brimmed hat adorned with a veil and pink ribbons is seen in the doorway of the shop in which light blue curtains hang and are pushed to the side. A shelf lined with bolts of textiles hangs above the doorway. The wheel of a carriage is seen behind the woman. The figures are portrayed with oversized and exaggerated features. The central woman figure’s skin tone is depicted with black hand coloring and the woman figure in the doorway’s skin tone is depicted with brown hand coloring. The man is depicted with rosy cheeks and brown, curled hair., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 11 of the original series of Life in Philadelphia., Contains five lines of dialogue in the vernacular and dialect below the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, Inscribed: No. 9., Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London) [P.9713.2]

Title: Life in Philadelphia. "Have you any flesh coloured silk stockings...?"
Description: Racist caricature of an African American woman shopping for a pair of "flesh coloured silk stockings" in a hosiery store with a white male sales clerk speaking with a French dialect. Depicts, in the center left, the woman standing at the green counter in front of the clerk who holds up a pair of black-colored stockings from out of a rectangular box. She is attired in a pink floral patterned dress, as well as yellow tall, wide-brimmed floral-patterned hat adorned with purple flowers, greenery, and a veil and long yellow floral-patterned ribbon, yellow gloves, earrings, and green and red button-up boots. She rests her white, polka-dot-patterned purse on the counter and holds up a monocle from the end of her neck fob to inspect the stockings that the clerk declares are of "de first qualite!" Her yellow parasol rests against the counter. Rows of brown, white, pink, black, and tan stockings and fashion accessories hang on the wall behind the clerk. The clerk is attired in a green waistcoat with tails, a blue vest, white cravat, and white pants. In the left, an African American woman attired in a blue polka dot dress with pink neckerchief and tall, wide brimmed hat adorned with a veil and yellow ribbons is seen in the doorway of the shop in which multi-color curtains hang and are pushed to the side. A shelf lined with bolts of textiles hangs above the doorway. The wheel of a carriage is seen behind the woman. The figures are portrayed with oversized and exaggerated features. The woman’s skin tone is depicted with black hand coloring. The man is depicted with rosy cheeks and brown, curled hair., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 11 of the original series of Life in Philadelphia., Contains five lines of dialogue in the vernacular and dialect above the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, Inscribed: No. 9., Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London) [P.9710.9]

Title: Life in Philadelphia. "Have you any flesh coloured silk stockings...?"
Description: Racist caricature of an African American woman shopping for a pair of "flesh coloured silk stockings" in a hosiery store with a white male sales clerk speaking with a French dialect. Depicts, in the center left, the woman standing at the blue counter in front of the clerk who holds up a pair of black-colored stockings from out of a rectangular box. She is attired in a yellow floral patterned dress, as well as tall, wide-brimmed floral-patterned hat adorned with yellow flowers, greenery, and a veil and long floral-patterned ribbon, white gloves, earrings, and white button-up boots. She rests her pink, polka-dot-patterned purse on the counter and holds up a monocle from the end of her neck fob to inspect the stockings that the clerk declares are of "de first qualite!" Her brown parasol rests against the counter. Rows of red, blue, brown, black, and yellow stockings and fashion accessories hang on the wall behind the clerk. The clerk is attired in a green waistcoat with tails, a blue vest, white cravat, and white pants. In the left, an African American woman attired in a pink polka dot dress and tall, wide brimmed hat adorned with a veil and green ribbons is seen in the doorway of the shop in which curtains hang and are pushed to the side. A shelf lined with bolts of textiles hangs above the doorway. The wheel of a carriage is seen behind the woman. The figures are portrayed with oversized and exaggerated features. The central woman figure’s skin tone is depicted with black hand coloring and the woman figure in the doorway’s skin tone is depicted with brown hand coloring. The man is depicted with rosy cheeks and brown, curled hair., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 11 of the original series of Life in Philadelphia., Contains five lines of dialogue in the vernacular and dialect above the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London) [P.9707.3]

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: [Scraps no. 3. for 1832]
Description: Plate four from the 1832 edition of "Scraps," Johnston's popular satirical series of societal caricatures published between 1828 and 1840, and in 1849. Depicts a montage of nine scenes lampooning contemporary social issues and everyday life such as fashion, religious hypocrisy, ignorance, vanity, country life, class inequities, the military, and higher education. Includes 'The Glass of Fashion & The Mould of Form' depicting a white man sales clerk falsely flattering a white man dandy trying on a puff-sleeved coat; "Faith and Works" depicting a hypocritical white man Deacon, near a fireplace, reneging the shelter that he promised to a cold, poor white woman outside his door while his African American servant offers her money; "Arrival of a Country Cousin" depicting a snobby, white, city gentleman snubbing his country cousin; "About to be Astonished" depicting a dimwitted gloating white man farmer about to intentionally kill a sleeping "varmint" and unintentionally kill his friend with a sickle; "Champagne [Campaign] or the Fatigues of Modern Camp Duty" depicting a grossly intoxicated troop of white military officers toasting their intellect and patriotism; "A Body Coat & A Coat of Arms" depicting a rotund and thin "John Smith" exchanging wrongly delivered coats; "The Able-Bodied Man & The Exempt" depicting a scraggly white soldier encountering an "exempt" hardy white gentleman; "Symptoms of Extravagance" depicting a white man, attired in rags, debating the necessity to "dress better on Sunday"; "College Acquirements" depicting an African American man and woman, portrayed in racist caricature and speaking in the vernacular, discussing 'de college for de colour'd circles' based on the beneficial effects of college on "Massa Bob," including his staying out later, no longer reading, and drinking champagne., Title supplied by cataloger., Printed in upper left corner: Plate 4., Published in D.C. Johnston's Scraps No. 3 1832 (Boston: D.C. Johnston, 1832), pl. 4., Retrospective conversion record: original entry, edited., 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.
Creator: Johnston, David Claypoole, 1799-1865
Date: [1832]
Location: Library Company of Philadelphia | Print Department political cartoons - 1832-Scr (d) [5656.F.24]

Title: Life in Philadelphia. A crier extraordinary
Description: Racist caricature of an African American town crier performing his duties in front of a storefront on a busy Philadelphia street. The crier, attired in worn clothing and a yellow straw hat, holds up his bell in his right hand and the sheet of news down with the other. He calls out the upcoming events, including sales of merchandise, a "sarmont on Temperance," and a "Colored Ball at Mrs. Johnsons." His attire includes a blue jacket, striped shirt with patches, a red cravat, white pants with patches, and black shoes. Several spectators listen, including an African American belle, attired in a striped, hooded cape over a dress with floral details; an African American street boy, attired in a worn jacket, vest, and pants and holding a broken mug; a white boy peddler, attired in a smock and boots and with his wares on a tray over his shoulder; and a white shopkeeper holding a cloth work in his hands as his stands in his store's doorway. The peddler boy walks a dog that has torn the crier's copy of the news. Drapery hangs in the store’s display window. Black figures are depicted with oversize and exaggerated features. White figures are depicted with exaggerated features., Signed W.S. for William Summers in lower right corner., Title from item., Date inferred from content and name of publisher., Contains five lines of dialogue in the vernacular below the image: Sale dis nite_Frying Pans_Grid Irons_Book_Oyster Knives and odder kinds of Medicines_Joe Williams will hab some fresh oysters at his stablishment_by tickler design, Mr. Hewlet will gib Imitations ober again_two or tree damaged Discussion Locks, and Rebd. Mr. P.Q. will deliver a sarmont on Temperance, half past 6 o’Clock precise, dats not all! Widout Money or Price _ de great Bull Phillip will be station at Squire S__s & dats not all nudder! dare will be a perlite & Colored Ball at Mr. Johnsons jus arter dis is bin done”_, Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1968.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7689.F]

Title: Life in Philadelphia. Dark conversation
Description: Circa 1833 racist caricature about the "disagreeableness" of the growing community of middle-class African Americans in Philadelphia. Depicts an African American man greeting an African American man-woman couple on a windy street corner, near the shop of a print dealer and where several fashionably-attired African American men and women are walking and standing. A river is visible below. In the left, the solitary man dressed in equestrian costume, including a white riding hat, green coat, and white ruffled shirt, holds a walking cane and comments about the "Black looking day." He extends a snuff box, with his ungloved left hand, to the man who is a part of the couple. The man, attired in a blue waistcoat and black pants, accepts the box with his ungloved right hand while holding a green umbrella under his left arm. He agrees about the stormy condition and that "De Blacks flying about so make it Petickly Disagreable." His woman partner, stands beside him and with her right hand under the elbow of his extended arm. She is attired in a white bonnet and a white shawl over a pink long-sleeved dress. She also wears white gloves, holds a black purse in her right hand, and her bonnet is adorned with a feather that blows in the breeze. Behind them, the African American men and women on promenade are similarly attired in waistcoats and pants; equestrian costume; and long-sleeved dresses and bonnets. Shadowy depictions of several prints are visible in the print dealer’s large display store window. Also shows in the far right, a river, bridge, and landscape. Figures are portrayed with oversize and exaggerated features and their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.1]

Title: Life in Philadelphia. The new shoes
Description: Racist caricature depicting an African American woman trying on shoes at "Sambo Paley Boots & Shoe Manufacturer." In the left, the woman, seated on a chair, looks down at her slightly raised left foot on which an African American clerk has placed a black slip-on shoe. Her removed yellow shoe rests beside her feet. She is attired in a yellow bonnet adorned with feathers and with a white veil that frames her face like long straight hair, a red puff sleeve dress, and a yellow slip-on shoe. She slightly raises her dress with her left ungloved hand to appear at her shoe and holds a green parasol to the floor with her gloved right hand. A blue and yellow purse hangs from her right wrist. The clerk kneels in front of her and holds her left foot. He is attired in a striped shirt, neck tie, brown vest, brown pantaloons, white stocking and red slipper shoes. The woman states the shoe "is sich a bery dirty color" and does he not have any white or pink ones. The clerk replies that it may not be "handsome" to look at, but surely a "good color to wear." In the background, an African American man, attired in shirt sleeves and an apron, possibly the bootmaker, shines a boot behind a counter and in front of a row of boots and shoes on a cabinet. A brush and can of boot black rest on the counter. A sign reading “Sambo Paley Boots & Shoe Manufacturer. The Best Jet Blacking Sold Here" hangs above the man’s head. In the far left, shoes hang inside the store’s window and visible through the shop’s doorway, a well-dressed African American man and woman walk past in the street. The man wears a top hat and waistcoat and the woman wears a yellow bonnet and puff sleeve dress. Scene also shows pairs of boots resting on the floor across from the kneeling clerk in the right. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Inscribed: No. 3., P.2016.45.1 trimmed., Charles Hunt was a respected 19th century London engraver and etcher known primarily for his prints of sporting subjects., P.2016.45.1 gift of Dr. Richard Dunn & Dr. Mary Maples Dunn., Digital image depicted is P.9710.3., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.3 & P.2016.45.1]

Title: Life in Philadelphia. A crier extraordinary
Description: Racist caricature of an African American town crier performing his duties in front of a storefront on a busy Philadelphia street. The crier, attired in worn clothing and a yellow straw hat, holds up his bell in his right hand and a sheet of news down with the other. He calls out the upcoming events, including sales of merchandise, a "sarmont on Temperance," and a "Colored Ball at Mrs. Johnsons." His attire includes a blue jacket, striped shirt with patches, a red cravat, white pants with patches, and black shoes. Several spectators listen, including an African American belle, attired in a striped, hooded cape over a dress with floral details; an African American street boy, attired in a worn jacket, vest, and pants and holding a broken mug; a white boy peddler, attired in a smock and boots and with his wares on a tray over his shoulder; and a white shopkeeper holding a cloth work in his hands as his stands in his store's doorway. The peddler boy walks a dog that has torn the crier's copy of the news. Drapery hangs in the store’s display window. African American figures are depicted with oversize and exaggerated features. White figures are depicted with exaggerated features.., Title from item., Date inferred from content and name of publisher., Contains five lines of dialogue in the vernacular below the image: Sale dis nite_Frying Pans_Grid Irons_Book_Oyster Knives and odder kinds of Medicines_Joe Williams will hab some fresh oysters at his stablishment_by tickler design, Mr. Hewlet will gib Imitations ober again_two or tree damaged Discussion Locks, and Rebd. Mr. P.Q. will deliver a sarmont on Temperance, half past 6 o’Clock precise, dats not all! Widout Money or Price _ de great Bull Phillip will be station at Squire S__s & dats not all nudder! dare will be a perlite & Colored Ball at Mr. Johnsons jus arter dis is bin done”_, Charles Hunt was a respected 19th-century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.11]

Title: Life in Philadelphia. Grand celebration ob de bobalition ob African slabery
Description: Racist caricature about free African Americans' celebratory response to the abolition of the African slave trade by the United States, an act passed in 1807 that took effect in 1808. Depicts a group of over fifteen well-dressed men sitting and standing and drinking, smoking, and making toasts around a large dinner table. A number of the men raise goblets and/or pipes in the air. Soup tureens are visible on the table. One man, standing, drinks from a rum bottle. In the far right, an attendee, in a wide-brimmed hat, carries away another who is unconscious, his tongue out, and holding a pipe. The men are attired in waistcoats with tails, pants and pantaloons, some striped, vests, and cravats. Some wear their hair in pompadour styles and one man has white hair. The biting toasts address "De Orator ob de day," William Wilberforce, a prominent British abolitionist; William Eustis, Governor of Massachusetts and the disgraced former Secretary of War under Madison; "De Sun" which should shine at night; Joseph Gales, a publisher and secretary of the American Colonization Society who believed that only states had the right to emancipate enslaved persons; "Ning Edwards;" "De Genius ob Merica;" the "White man" who wants to colonize blacks "now he got no furder use for him;" and "De day we Celembrate" and why it did not come sooner. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring. During the early 19th century, summer celebratory processions commemorating the anniversary of the abolition of the slave trade occurred annually in major Northern cities like Boston, New York, and Philadelphia., Title from item., Date inferred from content and name of publisher., Contains eight bubbles of dialogue in the vernacular within image: De Orator ob de day_When I jus hear him begin he discourse, tink he no great ting, but when he come to end ob um, I tink he like to scorch cat more better dan he took_Moosick_Possum up de Gum tree/Gubner Eustas Cleber old sole as eber wore nee buckle in de shoe_99 cheer and tree quarter/De Sun _Wonder why he no shine in de night putting nigger to dispense ob de candle./De day we Celumbrate! who he no come sooner? Guess de hard fros & de backward spring put um back. 29 pop gun v. 2 grin. White man _ mighty anxious to send nigger, to de place dey stole him from, now he got no furder use for him./De Genius de Merica _ He invent great many curious ting: wonder who just invent eating & drinking. 30 cheer & ober./Joe Gales _ He ax Massa Adams “if he be in health my brudder” and den he cut he guts out./Ning Edwards_ Guess he no great Angs no more nor udder people all he cut such a swell., P.2016.45.2 trimmed and lacking imprint., See LCP AR (Annual Report) 2003, p. 40-42., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 111. (LCP Ii 4, A2880.O)., Digital image shown is P.9709.3., P.2016.45.1 gift of Dr. Richard Dunn & Dr. Mary Maples Dunn., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Harris, I., engraver
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9709.3 & P.2016.45.2]

Title: Life in Philadelphia. Grand celebration ob de bobalition ob African slabery
Description: Racist caricature about free African Americans' celebratory response to the abolition of the African slave trade by the United States, an act passed in 1807 that took effect in 1808. Depicts a group of over fifteen well-dressed men sitting and standing and drinking, smoking, and making toasts around a large dinner table. A number of the men raise goblets and/or pipes in the air. Soup tureens are visible on the table. One man, standing, drinks from a rum bottle. In the far right, an attendee, in a wide-brimmed hat, carries away another who is unconscious, his tongue out, and holding a pipe. The men are attired in waistcoats with tails, pants and pantaloons, some striped, vests, and cravats. Some wear their hair in pompadour styles and one man has white hair. The biting toasts address "De Orator ob de day," William Wilberforce, a prominent British abolitionist; William Eustis, Governor of Massachusetts and the disgraced former Secretary of War under Madison; "De Sun" which should shine at night; Joseph Gales, a publisher and secretary of the American Colonization Society who believed that only states had the right to emancipate enslaved persons; "Ning Edwards;" "De Genius ob Merica;" the "White man" who wants to colonize blacks "now he got no furder use for him;" and "De day we Celembrate" and why it did not come sooner. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring. During the early 19th century, summer celebratory processions commemorating the anniversary of the abolition of the slave trade occurred annually in major Northern cities like Boston, New York, and Philadelphia., Title from item., Date inferred from content and name of publisher., Contains eight bubbles of dialogue in the vernacular within image: De Orator ob de day_When I jus hear him begin he discourse, tink he no great ting, but when he come to end ob um, I tink he like to scorch cat more better dan he took_Moosick_Possum up de Gum tree/Gubner Eustas Cleber old sole as eber wore nee buckle in de shoe_99 cheer and tree quarter/De Sun _Wonder why he no shine in de night putting nigger to dispense ob de candle./De day we Celumbrate! who he no come sooner? Guess de hard fros & de backward spring put um back. 29 pop gun v. 2 grin. White man _ mighty anxious to send nigger, to de place dey stole him from, now he got no furder use for him./De Genius de Merica _ He invent great many curious ting: wonder who just invent eating & drinking. 30 cheer & ober./Joe Gales _ He ax Massa Adams “if he be in health my brudder” and den he cut he guts out./Ning Edwards_ Guess he no great Angs no more nor udder people all he cut such a swell., Inscribed: No. 11., See Lib. Company Annual Report 2003, p. 40-42., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 111. (LCP Ii 4, A2880.O)., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Harris, I., engraver
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7510.F]

Title: Life in Philadelphia. Grand celebration ob de bobalition ob African slabery
Description: Racist caricature about free African Americans' celebratory response to the abolition of the African slave trade by the United States, an act passed in 1807 that took effect in 1808. Depicts a group of over fifteen well-dressed men sitting and standing and drinking, smoking, and making toasts around a large dinner table. A number of the men raise goblets and/or pipes in the air. Soup tureens are visible on the table. One man, standing, drinks from a rum bottle. In the far right, an attendee, in a wide-brimmed hat, carries away another who is unconscious, his tongue out, and holding a pipe. The men are attired in waistcoats with tails, pants and pantaloons, some striped, vests, and cravats. Some wear their hair in pompadour styles and one man has white hair. The biting toasts address "De Orator ob de day," William Wilberforce, a prominent British abolitionist; William Eustis, Governor of Massachusetts and the disgraced former Secretary of War under Madison; "De Sun" which should shine at night; Joseph Gales, a publisher and secretary of the American Colonization Society who believed that only states had the right to emancipate enslaved persons; "Ning Edwards;" "De Genius ob Merica;" the "White man" who wants to colonize blacks "now he got no furder use for him;" and "De day we Celembrate" and why it did not come sooner. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring. During the early 19th century, summer celebratory processions commemorating the anniversary of the abolition of the slave trade occurred annually in major Northern cities like Boston, New York, and Philadelphia., Title from item., Date inferred from content and name of publisher., Contains eight bubbles of dialogue in the vernacular within image: De Orator ob de day_When I jus hear him begin he discourse, tink he no great ting, but when he come to end ob um, I tink he like to scorch cat more better dan he took_Moosick_Possum up de Gum tree/Gubner Eustas Cleber old sole as eber wore nee buckle in de shoe_99 cheer and tree quarter/De Sun _Wonder why he no shine in de night putting nigger to dispense ob de candle./De day we Celumbrate! who he no come sooner? Guess de hard fros & de backward spring put um back. 29 pop gun v. 2 grin. White man _ mighty anxious to send nigger, to de place dey stole him from, now he got no furder use for him./De Genius de Merica _ He invent great many curious ting: wonder who just invent eating & drinking. 30 cheer & ober./Joe Gales _ He ax Massa Adams “if he be in health my brudder” and den he cut he guts out./Ning Edwards_ Guess he no great Angs no more nor udder people all he cut such a swell., Inscribed: No. 11., See LCP AR (Annual Report) 2003, p. 40-42., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 111. (LCP Ii 4, A2880.O)., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Harris, I., engraver
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9713.3]

Title: Life in Philadelphia. General order!!! Tention!! de whole city ob Philadelphia!! Philadelphia, Uly 14th 1825, 6 month and little more beside
Description: Racist caricature about free African Americans' summer celebratory processions commemorating the anniversary of the abolition of the slave trade by the United States, an act that took effect in 1808. Shows a Philadelphia street scene with an African American peddler and an African American shoe shiner. In the left, the peddler, attired in a wide-brimmed hat, waist coat with tails, and pantaloons carries a basket and exclaims, "Philadelphia Uly 14, 1825 & little arter." The shoe shiner, attired in a waistcoat and pants, holds a rack of boots and responds "That is de day ob de grand Celebrahsun." The men stand in profile. Also shows, in the background, two African American boys, attired in jackets and pants, facing the viewer, and one with his hands playfully raised in the air. Also contains several lines of text in vernacular and dialect addressed to "Peter Mink, de Chief Marshal ob de day, he Majesty de President” and “Per order Pompey Peterl, President and Snappo Gripes, Secretary" printed below the image. Text explicates the appropriate attire and manners expected during the celebratory procession, including "two sleebes to dare coat"; "trousaloon be all ob light complexion"; and "de Soulger dat know he duty always hold upun head like Lamb Tail an look savage like Meat Ax." Also details the punishment for "neglec to discomply," including "whip to death"; "fine of 40 shillings"; and placement in "de House of Destruction for Ninety nine years." Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains two bubbles of dialogue in the vernacular within image: “Philadelphia_ Uly 14 1825_ & little arter”/”That is de day of de grand Celebrashun”, Lib. Company. Annual report, 2003, p. 40-42., See Reilly 1825-1 for variant published in Boston., Added to African Americana Digital Collection 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., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1835]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.2004.4]

Title: Life in New York. "Shall I hab the honour of glanting...?"
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing tan pantaloons, a brown waistcoat, a high neck collar, and blue cravat, stands with his left foot pointed, and slightly bows. He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a pink gown with puffed sleeves and a lace collar, a wide-brimmed hat with pink and yellow ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, striped, tan trousers, a blue waistcoat, a large pink tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in brown 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: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.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., Purchase 1971.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [7993.F.2]

Title: Life in New York. "Shall I hab the honour of glanting...?"
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing tan pantaloons, a brown waistcoat, a high neck collar, and blue cravat, stands with his left foot pointed, and slightly bows. He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a pink gown with puffed sleeves and a lace collar, a wide-brimmed hat with pink and yellow ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, striped, tan trousers, a blue waistcoat, a large pink tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in brown 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: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.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., Purchase 1971.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [7993.F.2]

Title: Life in New York. The rivals
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing light blue pantaloons, a blue waistcoat, a high neck collar, and cravat, stands with his left foot pointed, and slightly bows, He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a yellow gown with puffed sleeves and a lace collar, a wide-brimmed hat with ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, white trousers, a green waistcoat, a large blue tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize 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: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Charles Ingrey was a premier London lithographic printer of the 1830s., Shane White and Graham White's Stylin': African American Expressive Culture...(Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.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., Purchase 1968.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [7701.F]

Title: Life in New York. The rivals
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing light blue pantaloons, a blue waistcoat, a high neck collar, and cravat, stands with his left foot pointed, and slightly bows, He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a yellow gown with puffed sleeves and a lace collar, a wide-brimmed hat with ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, white trousers, a green waistcoat, a large blue tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize 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: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Charles Ingrey was a premier London lithographic printer of the 1830s., Shane White and Graham White's Stylin': African American Expressive Culture...(Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.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., Purchase 1968.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [7701.F]

Title: [Ralston family cased photograph collection]
Description: Collection of daguerreotype and ambrotype portraits, several by Norristown daguerreotypist William Stroud, portraying clergyman and founder of Oakland Female Institute James Grier Ralston, his wife Mary Anderson Larimore Ralston, their daughters, and his and his wife’s female siblings, and women teachers at the Institute. Contains bust-, half-, three-quarter, and full-length portraits of individual and pairs of sitters. Sitters are often seated, but a number of the portrait depicts sitters in a standing pose. The women’s and girl’s attire includes bonnets; off-the-shoulder bateau neckline dresses; high-neck, long-sleeved dresses with lace collars and cuffs; brooch and belt chatelaines; and earrings. Dresses worn by the female sitters are often a solid dark color, but occasionally are of a pattern design or light color. James Grier Ralston’s attire included broad bow ties, vests, jackets, and suits. Many of the images also contain props, including covered side tables, chairs, flowers, possibly an ambrotype, and a crumpled piece of cloth., Sitters in addition to James Grier Ralston and Mary Anderson Larimore Ralston include their daughters Anna Larimore Ralston, Ella Grier Ralston, Lilly Grier Ralston (who died at 11 months old), and Cora (Cara) Ralston; Institute music teacher Mrs. John Hunsicker, i.e., Fannie Henry Hunsicker (married by James G. Ralston); Mary’s sister and Institute graduate, Hetty Clark Larimore; and Institute teacher and sister of James, Agnes Caldwell Ralston; Institute graduate Martha (Mattie) Divine (Mrs. Fleming); and an unidentified woman., Posed portrait pairs include images of Mary Anderson Larimore Ralston and daughter Anna Larimore Ralston (P.2012.5.6) in which Anna sits in Mary’s lap with her mother’s hand on her head; and Anna Larimore Ralston and Ella Grier Ralston (P.2012.5.8) which Anna stands next to Ella who sits on a chair, while she rests her arm on a covered side table adorned with a basket of flowers; Anna Larimore Ralston and Fanny Hunsicker (P.2012.5.16) in which Fanny, seated, has her one hand at her hip and her other hand and arm around the waist of Anna who stands; and Hetty Clark Larimore and Mary Larimore Ralston (p.2012.5.17) in which the women are seated, side by side, and Hetty holds a bound object, possibly an ambrotype and Mary holds a crumpled white cloth., Title supplied by cataloger., Date inferred from photographic medium and age and attire of sitters., Photographers include William Stroud (Norristown, Pa.) and Theodore L. Chase (Philadelphia, Pa.)., Various-shaped mats, including oval, elliptical, double elliptical, and non pareil., Various colored pads, including blue, red, and maroon velvet or silk, several with embossing. Embossings include photographer’s imprints and/or imagery. Imagery includes floral and geometric designs, scroll work, and eagles., Primarily leather cases, and one thermoplastic case. Case designs vary, but are predominantly rose and mixed flower designs, in addition to geometric, scroll, and quatrefoil designs. Designs also include Pressed Flower, plate 154; The Delicate Roses, variant, plate 123; A Spray of Roses, plate 131; Mixed Garden Flowers, plate 133; Two Lilies, variant, see plate 112 and 113 in American miniature case art by Floyd and Marion Rinhart (Cranbury, New Jersey: A.S. Barnes and Co., Inc., 1969)., Majority of sitters identified by accompanying slips of paper with manuscript notes., Several of the images contain pink tinting on the cheeks of the sitters., P.2012.5.4, P.2012.5.8, P.2012.5.11-15, P.2012.5.21 contains daguerrean's imprint on pad or inside rim of case. Various imprints include: William Stroud, Norristown; William Stroud's Skylight Gallery, Norristown, Pa.; Stroud’s Ambrotypes Norristown, Pa., P.2012.5.6 contains dagurrean's imprint on pad: Theodore L. Chase, N.E. cor. Chestnut & Fifth Sts., Fannie Henry Hunsicker was a woman of Chinese descent. Official records are conflicting as to whether she was born in China, at sea, or in Connecticut., Several of the images contain weeping glass deterioration, tarnished plates, or other damage., Inventory of collection available at repository., See Sarah Weatherwax, "Revealing the Ralston Family," The Daguerreian Society Quarterly (July-September 2021), p. 3-6., Clergyman James Grier Ralston (1815-1880) founded Oakland Female Institute in 1845 in Norristown, Pa. Ralston studied at the Theological Seminary at Princeton and headed the Female Seminary at Oxford, Chester Country, PA before establishing Oakland. He married Mary A. Larimore (1822-1891) in 1842 and they had four children Anna L. (1848-1902), Ella M.(1847-1924), Lillie G. (1852-1853) and Cara G. (1856-1928), with Lillie dying in infancy. Ralston’s children were educated and/or taught at Oakland, as did his sister Agnes C. Ralston. The Institute operated until 1880 and the death of Ralston
Date: [ca. 1845-ca. 1855]
Location: Library Company of Philadelphia | Print Department cased photos - Ralston Family [P.2012.5.1-22]

Title: A five points exclusive taking the first steps towards the Last Polish
Description: Racist caricature depicting a group of middle-class African American women receiving a dance lesson at the "Bon Enfantfile Cross St. Saloon." Shows the four women in a semi-circle, looking at the white dance instructor, “Mr. Boeyfong,” in the right and one woman, in the center, looking at the viewer. Two of the women slightly pull up their skirts, one has her heels together and the other points her right foot. The women wear their hair in top knots, and all but one also wear hair adornments. Three are attired in off the shoulder puffed-sleeved dresses and one woman wears a blue dress with a collar. They all wear jewelry, including earrings and necklaces, as well as ankle-laced shoes and a red ribbon on one leg and a blue ribbon on the other, the latter to aid in the lesson. In the right, “Mr. Boeyfong” stands with his left foot pointed out and holding a violin in one hand and the corresponding bow down toward the foot of the woman across from him. He instructs the pupil to "hold in ze stomach and stick out behind!" He has sideburns and wears his dark hair styled out to the sides. He is attired in a white ruffled shirt, a vest with a floral pattern, a cravat with a floral pattern, a black waistcoat, blue pantaloons, white stockings, and slip on shoes adorned with ribbons. Behind them is a sign with the "Regulations" of the "Saloon" which state that the women must wear the ribbons to distinguish their right foot from their left; they must not come undressed; and they may not have more than ten partners at one time. The women figures are portrayed with oversized features and their skin tone is depicted in brown hand coloring. The man figure is portrayed with muscular physical features and small feet., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular above the image: Allons Mademoiselle raise ze leg wis ze red ribbon so bring him to ze ozer leg wis de blue ribbon, hold up ze head, elevate ze bosom, hold in ze stomach and stick out behind! tres bien ver well-/Now Mr. Boeyfong is dat ‘ere step right?, Contains a caption below the image, a quote from Shakespeare's "Hamlet":” A station like the herald Mercury. New lighted on a heaven kissing hill. -Shakespeare., 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: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9187]

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