[Philadelphia children in blackface]
Title
[Philadelphia children in Blackface]
Description
Group portrait in a house foyer of nine white costumed children in Blackface and holding tin horns. The children, four seated and five standing, are possibly attired to perform a minstrel show for home entertainment. The photographer's daughter, Hazel, is seated on a rocker, in the right, attired in a large ruffled hat with a mask-like cloth veil. "Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes.", Title from Library Company catalog, An African American miscellany, p. 27., Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Purchase 1988., RVCDC, Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Rich was a professional Philadelphia landscape photographer who produced several candid portraits of family and friends.
Creator
Rich, James Bartlett, 1866-1942, photographer
Date
[ca. 1895]
Location
Library Company of Philadelphia | Print Department photo - Rich [P.9266.870]
Mr. T.D. Rice
Title
Mr. T.D. Rice As the original Jim Crow
Description
Full-length, caricatured portrait depicting T.D. Rice, known as the "father of American minstrelsy." Depicts Rice as his African American racist shyster character of "Jim Crow." He is portrayed with exaggerated features and mannerisms. He stands, attired in torn and worn clothing, in an exaggerated pose with his right hand on his hip as his left hand tips his hat. His attire includes a jacket, vest, collared shirt, pantaloons, stockings, and slip one shoes. He stands in a fenced in pasture with two cabins in the distant background. Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes. Jim Crow (mid to late 19th century) was a Minstrel character representing enslaved/rural Black manhood as foolish, lazy, interested in shirking labor., Title from item., After the caricature illustration originally created around the 1820s, often reproduced on sheet music covers of the 19th century. See Hugh Honour's The Image of the Black in western art (Cambridge: Harvard University Press, 1989), part 2, vol. IV, p. 62-63., Description of Blackface minstrelsy and minstrel characters from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Purchase 1992., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[ca. 1885]
Location
Library Company of Philadelphia | Print Department portrait prints - Rice [P.9369]
Uncle Tom's Cabin. On the Levee
Title
Uncle Tom's Cabin. On the Levee
Description
Racist scene derived from Stowe's popular abolitionist book, probably a theater advertisement for a minstrel production. Depicts enslaved African American men and women, portrayed in racist caricature with exaggerated facial features, having a hoedown on a levee. In the foreground, two women and two men dance facing the viewer. In the left, the woman, attired in a straw hat with a white ribbon tied over the hat and under her chin, a pink smock, a green skirt, black stockings, and black shoes, puts her right foot on its heel and raises her left arm up. Beside her the man, attired in a yellow collared shirt, red suspenders, gray and yellow checked pants, and brown shoes, steps back on his right leg as he raised his right arm up. Beside him, the woman, attired in a yellow headkerchief, a green collared shirt with red polka dots, a copper colored skirt with black polka dots, black stockings, and black shoes, holds her skirt with her right hand as her left hand touches her mouth. In the right, the man, attired in a yellow collared shirt with red stripes, white overalls, and black shoes, leans to the right with both hands in his pockets. Seated in the right, two men play banjos. More African American men and women, seated and standing, clap, sing, and raise their arms up. In the background are stacks of wooden crates, and the water is visible., Title from item., Date from copyright statement: Copyright 1899. Courier Litho. Co. Buffalo, N.Y., Purchase 1988., RVCDC, Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
1899
Location
Library Company of Philadelphia | Print Department **GC - Entertainment [P.9219]
Philharmonic T[h]eatre, Islington. Every evening at eight. [Sa]turday at three and eight. Sam Hague's Ori[gi]nal Slave Troupe at St. James's Hall, Li[me] Street, Liverpool. Every evening at 8, Saturdays at 3 & 8, all the year round. Positively for four we
Title
Philharmonic T[h]eatre, Islington. Every evening at eight. [Sa]turday at three and eight. Sam Hague's Ori[gi]nal Slave Troupe at St. James's Hall, Li[me] Street, Liverpool. Every evening at 8, Saturdays at 3 & 8, all the year round. Positively for four weeks on[ly] commencing Monday, Feb. 14th. Terminat[ing] [on] March 11 [ ] been re-built since the fire), St. James Hall, Liverpool, March 13th, 1876
Description
Advertising print depicting a racist scene to promote Sam Hague's Original Slave Troupe after their dislocation from their permanent home theatre, St. James Hall, following a fire in 1875. Shows a rhinoceros, a bell on his tail, pulling a cart on which members of the minstrel troupe, portrayed as Black men and women caricartures, perform. On the head of the animal, a man sits, his legs straight out while he holds the pole of a banner designed as an American flag and that is marked with advertising text for the troupe. On the animal's back, men and a woman stand, play hand instruments, and dance on a raised plank. On the cart, men play string and wind instruments, including a bass and trombone, as well as one man, bare-chested and in boxing pants, holds up an open umbrella, on which another man sits and plays the drum. The men figures are attired in suits and/or shirt sleeves and pants. The woman figure wears a kerchief, long-sleeved shirt, with the sleeves pulled up and apron-like, checkered skirt. Scene also includes blades of grass and a flowering plant in the foreground. Sam Hague's Original Slave Troupe evolved from the Georgia Slave Troupe Minstrels for which Samuel Hague assumed part management in 1866. Within the year, the troupe of formerly enslaved individuals, including singers, comedians, and minstrels, traveled to Great Britain to tour the country. In 1869, Hague acquired St. James Hall in Liverpool as a permanent home for the company, as well as a site to organize touring companies. In 1875, the hall was razed by fire and for the next year, the Troupe performed from other theatres such as Philharmonic Theatre, Islington. By this time, the Troupe was mainly comprised of white performers who performed in Blackface and Hague had managed the Troupe with a few different partners., Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes., Title from item., Date inferred from promotional text on item., RVCDC, Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Print torn in half and with sections missing.
Date
[1876]
Location
Library Company of Philadelphia | Print Department **GC - Advertisements - Samuel Hague [P.2022.57.1]
[Stevens-Cogdell and Sanders-Venning and Chew families miscellaneous portraits collection]
Title
[Stevens-Cogdell and Sanders-Venning and Chew families miscellaneous portraits collection]
Description
Collection of photographs, several unidentified, of members of the African American middle-class Steven-Cogdell and Sanders-Venning and Chew family of Philadelphia, as well as their extended families and friends. Includes predominantly studio portraiture, including a portrait of William H. Chew (P.2013.14.10), in addition to two miniatures (possibly members of the Cogdell family) and a casual group photograph. Also includes a small number of photographs representing the African American expatriate entertainers' community in Paris in the 1930s; a group portrait of the “Soap Box Minstrels, Musical Fund Hall, December 7, 1909”; and a group portrait with possibly George Washington Musgrave. Minstrel show photograph depicts performers in black face and African American musicians on a stage in front of which a row of African American performers, some in costume and some in tuxedoes, is seated. George Venning and his brother-in-law William Holden were founders of the Soap Box Social in 1908. The Soap Box Social performed an annual minstrel show in the aughts as a fundraiser for the Citizens Republican Club, a social and political club of African American elite men started in 1884. The club’s mission focused on the election of African Americans into public office., Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes., Identified sitters include Ivan H. Browning, William H. Chew, Edward W. Venning, Sallie Venning (Holden), Turner Layton, Clarence Johnstone, Thomas "Fats" Waller, and Ada "Bricktop" Smith., Title supplied by cataloger., Date from content., Various photographers, including L. Blaul, African American photographer G. W. Cheston, Flett, J. E. Forbert, O. B. De Morat, S. Georges Ltd, Studio di Art, Sol Young Studios, and Suddards & Fennemore., P.2013.14.12 contains manuscript note on verso: My Honey, My Wife, My All., P.2013.14.15 contains manuscript note on recto: To two regular fellows “Bill & Agnes” Ivan Browning, Paris, France, 1932., P.2013.14.16 contains manuscript note on recto: To The Agnes, Bill, Gene Upshur, With Warmest Wishes, Turner Layton. C.T. Johnstone., P.2013.14.17 contains manuscript note on recto: To Mr. & Mrs. Chew. With Tons of Good Wishes for Every Joy & Oceans of Happiness. Layton & Johnstone., P.2013.14.19 contains manuscript note on recto identifying the sitters: Unknown; [Us.?] Browning; Snow; Unknown; Fats Waller; Unknown; Bricktop., P.2013.14.20 contains manuscript note in ink on recto identifying the sitters: Unknown; Fats; [Mau?]; [Mask?]; Bricktop; Uncle John; Unknown; Ms. Chew; Susan Williams; Unknown; Maureen Browning; Mr. Anson; Ms. Hinkson; Dr. Hinkson; Mr. Chew; Mr. Browning; Unknown. Also contains manuscript note on recto: To Uncle John-Don’t get your derby knocked off. Thomas “Fats” Waller; Uncle John, I think your great & how. Bricktop., See Lib. Company Annual Report, 1991, p. 26-31., Gift of descendants Cordelia H. Brown, Lillie V. Dickerson, Mary Hinkson Jackson, and Georgine E. Willis in honor of Phil Lapsansky., See LCP exhibit catalogue: African American Miscellany p. 45., Genealogical charts available at repository., Description of blackface mintrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 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., RVCDC, Description revised 2022., Access points revised 2022.
Date
[ca. 1800-1932]
Location
Library Company of Philadelphia | Print Department Stevens-Cogdell/Sanders-Venning Collection [P.2013.14]