Search results

Title: Centennial Exhibition. Philadelphia. MDCCLXXVI [1876]
Description: Souvenir viewbook containing 12 prints originally connected by accordion folds and depicting Centennial Exhibition buildings and national historic landmarks and scenes. Titles include Main Exhibition Building; Art Gallery; Agricultural Building; Horticultural Building; Machinery Building; Washington's Retreat near Philadelphia/Carpenter's Hall Philadelphia; Declaration of Independence, July 4th 1776; Independence Hall, Philadelphia 1776; Independence Hall, Philadelphia 1876; Old State House, Boston; Faneuil Hall, Boston; and The Capitol at Washington. Views also show street and pedestrian traffic. Majority of the Centennial buildings were built after the designs of Herman Schwartzmann, Henry Pettit and Joseph M. Wilson. The Centennial Exhibition celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., Blue paper binding, stamped with border design and containing gold seals replicating the Centennial medal on recto. Seals illustrated with female allegorical figures representing the Genius of American Independence and Liberty. Seal on recto reads "In Commemoration of the Hundredth Anniversary of American Independence 1876." Seal on verso reads "These United Colonies are and of Right Ought to be Free and Independent States 1776.", Includes 15-page "Description" of Philadelphia and major landmarks in Boston and Washington, D.C. Description missing pages., Publication information from variant duplicate., Inscribed on last fold: Miss [Tillie Pardy?], A little souvenir from the Centennial. Compliments of El[?] V. B. Millen., Gift of Michael Zinman., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [1876]
Location: Library Company of Philadelphia | Print Department Michael Zinman World's Fairs Collection - Souvenirs [P.2008.36.48]

Title: Centennial Exhibition. Philadelphia. MDCCLXXVI [1876]
Description: Souvenir viewbook containing 12 prints originally connected by accordion folds and depicting Centennial Exhibition buildings and national historic landmarks and scenes. Titles include Main Exhibition Building; Art Gallery; Agricultural Building; Horticultural Building; Machinery Building; Washington's Retreat near Philadelphia/Carpenter's Hall Philadelphia; Declaration of Independence, July 4th 1776; Independence Hall, Philadelphia 1776; Independence Hall, Philadelphia 1876; Old State House, Boston; Faneuil Hall, Boston; and The Capitol at Washington. Views also show street and pedestrian traffic. Majority of the Centennial buildings were built after the designs of Herman Schwartzmann, Henry Pettit and Joseph M. Wilson. The Centennial Exhibition celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., Blue paper binding, stamped with border design and containing gold seals replicating the Centennial medal on recto. Seals illustrated with female allegorical figures representing the Genius of American Independence and Liberty. Seal on recto reads "In Commemoration of the Hundredth Anniversary of American Independence 1876." Seal on verso reads "These United Colonies are and of Right Ought to be Free and Independent States 1776.", Includes 15-page "Description" of Philadelphia and major landmarks in Boston and Washington, D.C. Description missing pages., Publication information from variant duplicate., Inscribed on last fold: Miss [Tillie Pardy?], A little souvenir from the Centennial. Compliments of El[?] V. B. Millen., Gift of Michael Zinman., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [1876]
Location: Library Company of Philadelphia | Print Department Michael Zinman World's Fairs Collection - Souvenirs [P.2008.36.48]

Title: Centennial Exhibition. Philadelphia. MDCCLXXVI [1876]
Description: Souvenir viewbook containing 12 prints originally connected by accordion folds and depicting Centennial Exhibition buildings and national historic landmarks and scenes. Titles include Main Exhibition Building; Art Gallery; Agricultural Building; Horticultural Building; Machinery Building; Washington's Retreat near Philadelphia/Carpenter's Hall Philadelphia; Declaration of Independence, July 4th 1776; Independence Hall, Philadelphia 1776; Independence Hall, Philadelphia 1876; Old State House, Boston; Faneuil Hall, Boston; and The Capitol at Washington. Views also show street and pedestrian traffic. Majority of the Centennial buildings were built after the designs of Herman Schwartzmann, Henry Pettit and Joseph M. Wilson. The Centennial Exhibition celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., Blue paper binding, stamped with border design and containing gold seals replicating the Centennial medal on recto. Seals illustrated with female allegorical figures representing the Genius of American Independence and Liberty. Seal on recto reads "In Commemoration of the Hundredth Anniversary of American Independence 1876." Seal on verso reads "These United Colonies are and of Right Ought to be Free and Independent States 1776.", Includes 15-page "Description" of Philadelphia and major landmarks in Boston and Washington, D.C. Description missing pages., Publication information from variant duplicate., Inscribed on last fold: Miss [Tillie Pardy?], A little souvenir from the Centennial. Compliments of El[?] V. B. Millen., Gift of Michael Zinman., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [1876]
Location: Library Company of Philadelphia | Print Department Michael Zinman World's Fairs Collection - Souvenirs [P.2008.36.48]

Title: Centennial Exhibition. Philadelphia. MDCCLXXVI [1876]
Description: Souvenir viewbook containing 12 prints originally connected by accordion folds and depicting Centennial Exhibition buildings and national historic landmarks and scenes. Titles include Main Exhibition Building; Art Gallery; Agricultural Building; Horticultural Building; Machinery Building; Washington's Retreat near Philadelphia/Carpenter's Hall Philadelphia; Declaration of Independence, July 4th 1776; Independence Hall, Philadelphia 1776; Independence Hall, Philadelphia 1876; Old State House, Boston; Faneuil Hall, Boston; and The Capitol at Washington. Views also show street and pedestrian traffic. Majority of the Centennial buildings were built after the designs of Herman Schwartzmann, Henry Pettit and Joseph M. Wilson. The Centennial Exhibition celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., Blue paper binding, stamped with border design and containing gold seals replicating the Centennial medal on recto. Seals illustrated with female allegorical figures representing the Genius of American Independence and Liberty. Seal on recto reads "In Commemoration of the Hundredth Anniversary of American Independence 1876." Seal on verso reads "These United Colonies are and of Right Ought to be Free and Independent States 1776.", Includes 15-page "Description" of Philadelphia and major landmarks in Boston and Washington, D.C. Description missing pages., Publication information from variant duplicate., Inscribed on last fold: Miss [Tillie Pardy?], A little souvenir from the Centennial. Compliments of El[?] V. B. Millen., Gift of Michael Zinman., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [1876]
Location: Library Company of Philadelphia | Print Department Michael Zinman World's Fairs Collection - Souvenirs [P.2008.36.48]

Title: Grand complimentary benefit to Jos. Lindsay and Corp. R.L. Sanford Joseph Lindsay was formerly a member of Baxter's Fire Zouaves, 72d Regiment, P.V., and was severely wounded at the Battle of Savage Station. Corp. R.L. Sanford was formerly a member of the 118th Regiment, Corn Exchange, and was deprived of his leg at the Battle of Antietam. These gentlemen respectfully solicit the patronage of their friends and public in general. Great array of talent for this occasion. Read the programme. ... Woman's rights! ... Stump speech! ... Burlesque stranger! ... Comic act! ... The Gobble family! ... To conclude with The masquerade ball! ... Admission, 25 cents Children, 10 cents. Doors open at 7 o'clock. Performances to commence at 8. Front seats reserved for ladies
Description: Performers, many of whom appeared in Philadelphia in April 1863 with the Rose and Burr Opera Troupe, include: W. Archibald, F. Anthony, N.J. Bark, A. Fisk, R.J. Harrison, H. Kirk, S. Lane, W. Lynch, the Marion Brothers, C. Renz, Billy Rose, and R.L. Sanford., Illustration signed: Strong., Library Company copy cropped at foot, possibly removing imprint; originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Date: [1863]
Location: Library Company of Philadelphia | Books & Other Texts | Rare PB 1863 Grand (25)5761.F.50a (McAllister)

Title: History of the war for the Union: civil, military and naval. By Evert A. Duyckinck illustrated with highly-finished steel engravings of battle scenes by sea and land, and full-length portraits of naval and military heroes, from original paintings by Alonzo Chappel. ... Conditions of publication. The work will be issued in semi-monthly parts, printed on superfine paper, each part containing one elegant engraving on steel, price 25 cts. each. No subscriber's name will taken for less than the entire work. The parts a payable on delivery, the carrier not being permitted to give credit or receive money in advance. The plates will be printed on India tinted paper prepared expressly for this work. Subscribers removing, or not being regularly supplied, will please address the publishers by mail, or otherwise
Description: Duyckinck's National history of the war for the Union was published in 78 parts from 1861 to 1866., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images fo the American Civil War.
Creator: Johnson, Fry & Co.
Date: [1861]
Location: Library Company of Philadelphia | Books & Other Texts | Rare sm # Am 1861 Johnson (2)5786.F.108d (McAllister)

Title: History of the war for the Union: civil, military and naval. By Evert A. Duyckinck illustrated with highly-finished steel engravings of battle scenes by sea and land, and full-length portraits of naval and military heroes, from original paintings by Alonzo Chappel. ... Conditions of publication. The work will be issued in semi-monthly parts, printed on superfine paper, each part containing one elegant engraving on steel, price 25 cts. each. No subscriber's name will taken for less than the entire work. The parts a payable on delivery, the carrier not being permitted to give credit or receive money in advance. The plates will be printed on India tinted paper prepared expressly for this work. Subscribers removing, or not being regularly supplied, will please address the publishers by mail, or otherwise
Description: Duyckinck's National history of the war for the Union was published in 78 parts from 1861 to 1866., Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images fo the American Civil War.
Creator: Johnson, Fry & Co.
Date: [1861]
Location: Library Company of Philadelphia | Books & Other Texts | Rare sm # Am 1861 Johnson (2)5786.F.108d (McAllister)

Title: Historical The plan for the organization of the Sunday School Union of the African Methodist Episcopal Church was presented by Rev. C. S. Smith to the Council of Bishops at their annual meeting in Cape May, N. J. August 11, 1882. The bishops approved of the plan, and the Rev. C. S. Smith was appointed corresponding secretary. At the General Conference, which met in Baltimore, MD. May, 1884, the Union was adopted as one of the general departments of the church, and the Rev. C. S. Smith was unanimously elected corresponding secretary of the same. The building now owned and occupied by the Union was purchased February 28, 1888, at a cost of $9,000. The building is situated on the north side of the public square in the city of Nashville, Tenn., and is a handsome five story structure with a solid stone front. The printing department was organized February, 1889, and is known as the publishing house of the A. M. E. Sunday School union. The first book ever issued by a Colored publishing house in the history of the world was issued by the Union, September, 1890, with the title, "Poor Ben." The first Children's Day to be observed in the A. M. E. Church took place on the 4th Sunday in October, 1882
Description: Print commemorating the ten year anniversary of the Sunday School Union containing half-length portraits of the president, and founder of the Sunday School Union, and three-quarter length portraits of the four regional queens of Children's Day 1891. Shows Bishop D[aniel] A. Payne D.D. L. L. D. President of A. M. E. Sunday School Union, an avid proponent of higher education for African Americans; Rev. C[harles] S. Smith. Founder of the A.M.E. Sunday School Union and organizer of Children's Day; Miss Amelia Boddy, Philadelphia, Pa. Eastern Queen; Miss Ida Jenkins, Independence Mo. Western Queen; Miss Mamie Pettiford, Franklin, Ind. Northern Queen.; and Miss Minnie Mabrey, Vicksburg, Miss. Southern Queen. The young women wear crowns, sashes, and flowers and hold scepters. Also contains a central vignette showing the exterior of the publishing house and a border comprised of flowers, ferns, and greenery. Children's Day was devoted to the interest of the children in the church, and included donations, special programs, and exercises such as original poetry, hymns, and African American history lessons., Title from item., Accompanied by original mailer tube containing label printed: Lithograph. Handle with Care. From the A. M. E. Sunday School Union Publishing House, Nashville, Tenn. *albums (flat) [P.2006.27b], Purchase 2006., 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.
Creator: A. M. E. Sunday School Union
Date: 1891
Location: Library Company of Philadelphia | Print Department *GC - Religion [P.2006.27a]

Title: Centennial pocket album
Description: Souvenir viewbook containing 14 prints connected by accordion folds and depicting Centennial Exhibition buildings and national historic landmarks and scenes. Includes title page "Centennial Album" illustrated with an allegorical, patriotic scene; Declaration of Independence, July 4th 1776; Carpenter's Hall/Old Liberty 1776 (i.e., Liberty Bell)/Washington's Retreat near Philadelphia; Independence Hall, Philadelphia 1776; Independence Hall, Philadelphia 1876; Faneuil Hall, Boston; Old State House, Boston; Washington's Headquarter, Newburgh, N.Y.; Old City Hall, Wall St. N.Y.; The U.S. Capitol at Washington; Main Building; Agricultural Hall; Machinery Hall; Horticultural Hall; and Art Gallery. Views also show street and pedestrian traffic. Majority of the Centennial buildings were built after the designs of Herman Schwartzmann, Henry Pettit and Joseph M. Wilson. The Centennial Exhibition celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., P.2010.21.13 contains white paper binding, printed in color with ornate border design., P.2010.21.13 inscribed on verso of last fold: Rowland C. Trask, Otego, Ostego Co. N.Y., P.2010.21.14 contains red cloth binding stamped with ornate border design., Includes "The Hymn Sung at the Opening of Our Centennial" pasted on the inside covers., Centennial album registered at the patent office July 20th 1875., Gift of David Doret., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [1876]
Location: Library Company of Philadelphia | Print Department Doret Collection Centennial Ephemera [P.2010.21.13 & 14]

Title: Ethnographic tableau Specimens of various races of mankind
Description: Chart showing racist depictions of fifty-four, bust-length, portraits of men and one woman of different "races" from eight geographic regions to emphasize contrived differences in cranial characteristics. The “Geographical Distribution” includes I. Arctic, II. Asiatic, III. European, IV. African, V. American, VI. Polynesian, VII. Malayan, and VIII. Australian. With each region, six depictions of individuals of that race are shown, some facing forward and some in profile. Many of the individuals are depicted as racist stereotypes. Many are attired in hats, turbans, or headdresses custom to their country of origin. In the left, under the caption “Cranioscopic Examples,” nine different skulls in right profile are depicted. In the right, chart sections include “Mankind, Grouped Physiologically” and “Linguistic Distinctions.”, Title from item., Folded plate removed from Josiah C. Nott and George R. Gliddon's Indigenous races of the earth (Philadelphia: J.B. Lippincott & Co.; London: Trubner & Co., 1857) (LCP *Am 1857 Nott (1)2733.Q (Rush)). See "Explanations of the tableau" pages 618-638., Captions below images on recto: Artic: Eskimo, Tchucktchi, Koriak, Aleoutian, Aino, Samoyede. Asiatic: Kamtschadale, St. Laurent Islander, Tartar, Chinese, Kalmuck, Tuda. Euro[pean]: Finn, Icelander: Cuvier, Bulgarian, Greek, Caucasian. [Euro]Pean: Syrian, Arab, Fellah, Berber, Uzbek Tatar, Affghan (sic). African: Ababdee, Sahara Negro, Yeboo Negro, Mozambique Negro, Caffr, Hottentot. American: Kutchin Indian, Stone Indian, Ottoe Indian, Yucatan Indian, Boroa Indian, Fuegian. Polynesian: New Zealander, Samoa Islander, Tikopia Islander, Vanikoro Islander, Tana Islander, Viti Islander. Malayan: Malay, Javanese, Marianne Islander, Hindoo, Mintira, Negritto. Australian: North Australian, West, Australian, South Australian, Tasmanian, Tasmanians (Men, Women)., Bequest of Dr. James Rush, 1869., 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: Kramer, Peter, 1823-1907, artist
Date: 1857
Location: Library Company of Philadelphia | Print Department ***BW-Natural history [(1)2733.Q.1]

Title: A distinguished arrival Negro soldier - "Hi dar! Show dis ole lady a room - one wid a closet to put dis yar skelle in tum in!"
Description: Cartoon satirizing the imprisonment at Fort Monroe, Va. of Confederate president Jefferson Davis, detained by Union cavalry troops on May 10, 1865, while wearing his wife's overcoat and shawl as a disguise. Shows an African American soldier escorting Davis to a cell door at the "Hotel De Monroe." In front of the door a noose hangs. Davis, attired in a bonnet, shawl, and overcoat, holds a money bag labeled "JD. CSA" (an allusion to Davis's confiscation of the remaining Confederate treasury). The soldier holds a bayonet to which a skirt hoop is attached and speaks in the vernacular "Hi dar! Show dis ole lady a room..." In the background, a smiling sun, an African American soldier, and a ship sailing the bay are visible. Davis was imprisoned at Fort Monroe between 1865 and 1867., Title from item., Date from copyright statement: Ent'd according to act of Congress, in the year 1865, by J. Chapman in the Clerk's Office of the District Court, for the Southern District of New York., Purchase 2004., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: 1865
Location: Library Company of Philadelphia | Print Department cdv - misc. - Civil War - Caricatures and cartoons [P.2004.6.2]

Title: A distinguished arrival Negro soldier - "Hi dar! Show dis ole lady a room - one wid a closet to put dis yar skelle in tum in!"
Description: Cartoon satirizing the imprisonment at Fort Monroe, Va. of Confederate president Jefferson Davis, detained by Union cavalry troops on May 10, 1865, while wearing his wife's overcoat and shawl as a disguise. Shows an African American soldier escorting Davis to a cell door at the "Hotel De Monroe." In front of the door a noose hangs. Davis, attired in a bonnet, shawl, and overcoat, holds a money bag labeled "JD. CSA" (an allusion to Davis's confiscation of the remaining Confederate treasury). The soldier holds a bayonet to which a skirt hoop is attached and speaks in the vernacular "Hi dar! Show dis ole lady a room..." In the background, a smiling sun, an African American soldier, and a ship sailing the bay are visible. Davis was imprisoned at Fort Monroe between 1865 and 1867., Title from item., Date from copyright statement: Ent'd according to act of Congress, in the year 1865, by J. Chapman in the Clerk's Office of the District Court, for the Southern District of New York., Purchase 2004., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: 1865
Location: Library Company of Philadelphia | Print Department cdv - misc. - Civil War - Caricatures and cartoons [P.2004.6.2]

Title: Southern chivalry - argument versus club's
Description: Cartoon critically addressing the Brooks-Sumner Affair in which Southern Congressman Preston S. Brooks caned antislavery Senator Charles Sumner in the Senate on May 26, 1856. Brook's "chivalrous" attack on Sumner was a reprisal for Sumner's two-day speech, "The Crime against Kansas," which attacked the violence occurring in Kansas over the issue of slavery; the South; and Brook's uncle, Andrew Butler. Depicts Sumner, head bloodied, quill in his raised hand and clutching a paper symbolically inscribed "Kansas.," He is held to the ground by Butler whose face is obscured by his raised arm and hand that holds his cane above his head. Butler is posed in mid-strike. Members of Congress observe in the background, some laughing, some scowling, with one member raising his hands in surrender from another who has his fist and cane raised., Title from item., Date inferred from content., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., 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., Magee was a Philadelphia lithographer who established his own lithographic firm in Philadelphia in 1850.
Creator: Magee, John L., artist
Date: [1856]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1856-3W [5760.F.105]

Title: Practical amalgamation
Description: Racist print promoting anti-abolitionists' fears of multiracial personal relationships. Depicts a parlor scene where two inter-racial couples court on a couch. In the left, an attractive white women sits on the lap of an African American man. The man, depicted in racist caricature with grotesque facial features, holds a guitar in his right hand as she engages him in a kiss. In the right, a rotund African American woman holds a fan in her right hand as she is wooed by a slender white man on his knees who kisses her left hand. Portraits of abolitionists Arthur Tappan, Daniel O'Connell (a radical Irish abolitionist), and John Quincy Adams are hung on the wall behind the couch. A white and black dog are in the left corner., Title from item., After E.W. Clay's Practical amalgamation (New York: Published and sold by John Childs, Lithographer, 119 Fulton Street, upstairs, 1839]., Purchase 1970., 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.
Date: 1839
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1839 - Pra 2 [7897.F]

Title: An affecting scene in Kentucky
Description: A racist cartoon ridiculing Kentucky congressman Richard M. Johnson, the 1836 Democratic vice-presidential candidate, for his common-law marriage to Julia Chinn, a multiracial woman. Depicts Johnson, with the "New York Courier and Enquirer" falling from his hand, as he grieves over the "scurrilous attacks in the newspapers on the mother of my children." His daughters, Adaline and Imogene, attired in evening dresses, comment on his "affected state" and hold a framed portrait of their mother, attired in a turban. Surrounding Johnson are Democrats pledging support, including a postmaster, a well-dressed African American man, who speaks in the vernacular, and a gaunt white man abolitionist holding the Connecticut newspaper the "Emancipator." Another white man supporter comments on Johnson's agitated state., Title from item., Publication information supplied by Reilly., Purchase 1958., 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.
Date: [1836]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1836-15 [6277.F]

Title: Not a drum was heard nor a funeral note as his corpse to the ramparts we hurried -- : Not a loco discharged his farewell shot o'er the ditch where our hero we buried
Description: Cartoon of a funeral procession portraying the erosion of Democratic support for presidential hopeful Martin Van Buren, the "Kinderhook Fox," during the election of 1844. Depicts President Tyler, instrumental in Van Buren's defeat, stating, "Thus do all our hopes end in Clay," as he steers a funeral cart carrying Van Buren, depicted as a dead fox; his son, poet Robert Tyler; and a bale of cabbages. The cart is pulled by Andrew Jackson, depicted as an old nag boasting about his part in Van Buren's death. Following the cart are the devil sobbing and bemoaning that he is Van Buren's only friend and a rotund man in a wide brimmed hat who rings a bell and calls, "Bring out your dead." In the right, two barefooted African American men gravediggers, portrayed in racism caricature and attired in torn and worn clothes, hold shovels as they stand over and comment about the open grave they have dug for Van Buren. "Here comes Pompey, we'll have this Fox earthed at last." A small cabin, with an emaciated white man in the doorway, and labeled "Loco Foco Hall" (Loco Focos were a radical branch of the Democrats who supported Van Buren) stands in the background., Title from item., Date from copyright statement: Entered according to Act of Congress in the Year 1844 by James Baille in the Clerk's office of the Dist Court of the Southern District of N. York., Gift of Mrs. Francis P. Garvan, 1977., 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., Bucholzer was a New York cartoonist whose work was published by James Baillie from 1843 until 1847.
Creator: Bucholzer, H., lithographer
Date: 1844
Location: Library Company of Philadelphia | Print Department Political cartoons - 1844-17 [8366.F.21]

Title: Jim Crow, the American mountebank performing at the Grand Theatre
Description: Full-length, caricatured portrait depicting Thomas D. Rice, known as the "father of American minstrelsy." Depicts Rice in Blackface as his African American racist shyster character of "Jim Crow" during his first performance in London. He is portrayed with exaggerated features and mannerisms. He dances and sings a version of the minstrel standard, "Jim Crow," in front of an audience of white British men, including the King. The song, which pokes fun at Americans, refers to William Blackstone and William Pitt Chatham, two influential English jurists, who wrote about early American law and politics. 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., Date inferred from content., Text printed on the recto: I come from America a long time ago, Since which I larn to wheel about & jump Jim Crow, Him used to study Blackstone ebry morn & arter noon, Me charm de House where Chatham died & dance inde saloon. Wheel about & turn about & do jis so. Ebry time I wheel about I jumpt Jim Crow., 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., Accessioned 1982., 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.
Date: [1836]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1836 Jim [P.8738]

Title: Johnny Q., introducing the Haytien Ambassador to the ladies of Lynn, Mass. Respectfully inscribed to Miss Caroline Augusta Chase, & the 500 ladies of Lynn who wish to marry Black husbands
Description: Anti-abolition print satirizing the Lynn Female Anti-Slavery Society which was successful in its petition to the state legislature to abolish race-proscriptive laws, including a ban on interracial marriage. Depicts a parlor where the Society's members, composed of unattractive white women and African American men, have gathered to be introduced to the fictitious Haitian Ambassador, General Marmalade, by John Quincy Adams. The ambassador, portrayed in racist caricature and attired in an uniform and powdered wig, takes his hat off and bows as he holds a monocle up. He lasciviously addresses the women in the crowd in broken French and vernacular, "Mesdames votre trés humble serviteur! me no speak much Anglish-En regardant ces charmants bontons de rose de Lynn l’eau vient dans la bouche! Excuse bot de charming rose buds ob Lynn make vater in my mouse." The women await their introduction and remark about the ambassador's "lovely" and "beautiful" features, as well as his overall attractiveness. African American men, portrayed in racist caricature and attired in elegant suits, stand behind the women and comment in the vernacular about the ambassador, "Demd fine specimen of a man! pon honor." In the right background, a white man servant and a white woman servant enter the room carrying trays of food and drinks., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1839, by John Childs, in the clerk's office, in the District Court for the Southern District of New York., Caroline Augusta Chase headed the Lynn Female Anti-Slavery Society., Purchase 1959., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Clay, born in Philadelphia, was a prominent caricaturist, engraver, and lithographer who created the "Life in Philadelphia" series which satirized middle-class African Americans of the late 1820's and early 1830's.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: 1839
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1839-25w [6333.F]

Title: Practical amalgamation
Description: Racist print promoting anti-abolitionists' fears of multiracial personal relationships. Depicts a parlor scene where two interracial couples court on a couch. In the left, an attractive white women sits on the lap of an African American man. The man, depicted in racist caricature with grotesque facial features, holds a guitar in his right hand as she engages him in a kiss. In the right, a rotund African American woman holds a fan in her right hand as she is wooed by a slender white man on his knees who kisses her left hand. Portraits of abolitionists Arthur Tappan, Daniel O'Connell (a radical Irish abolitionist), and John Quincy Adams are hung on the wall behind the couch. A white and black dog are in the left corner., Title from item., First of a series of five., Lib. Company. Annual Report, 2015, p. 41., Purchase 1957., 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., Clay, born in Philadelphia, was a prominent caricaturist, engraver, and lithographer who created the "Life in Philadelphia" series which satirized middle-class African-Americans of the late 1820s and early 1830s.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: 1839
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1839-Pra 1 [6207.F]

Title: John Brown exhibiting his hangman
Description: Cartoon depicting the imaginary execution of former Confederate President Jefferson Davis with the ghost of John Brown as his executioner. Jefferson, holding a sour apple and attired in a women's dress and bonnet, swings imprisoned in a birdcage which hangs from a gallows. To the left of the cage Brown rises from a hole in the earth and points accusingly at Davis. In actuality Davis had no direct involvement with Brown's execution. Beneath the cage, African American men and women minstrel figures, portrayed in racist caricature, rejoice, dance, clap, and thumb their noses at Davis., Title from item., Date from copyright statement: Entered according to act of Congress in 1865 by G. Querner in the Clerk's Office of the Sup. Court D.C., Originally part of a McAllister scrapbook related to Jefferson Davis and the Confederacy. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: 1865
Location: Library Company of Philadelphia | Print Department Political Cartoon - 1865-16R [5795.F.b]

Title: Bank of the United States, in Third Street Philadelphia
Description: Street scene with a view of the Bank of the United States on Third Street. Shows groups of men in conversation, couples strolling the sidewalk, and individuals walking up the bank's steps. View also includes, horse-drawn carts traveling in the street and, in the right, an African American man laborer working with wood scraps in front of a nearby building. Designed by Samuel Blodget, Jr., the Federal-style building was completed in 1797 and housed the first Bank of the United States until revocation of the bank's charter by Congress in 1811. Purchased by wealthy Philadelphian Stephen Girard, the building became "Girard's Bank," and operated on the site for the next twenty years., Title from item., Reproduced in S. Robert Teitelman's Birch's views of Philadelphia (Philadelphia: The Free Library of Philadelphia, 1982, rev. 2000), pl. 17., Gift of James D. Johnson, 1995., Description revised 2021., Access points revised 2021.
Creator: W. Birch & Son
Date: 1799
Location: Library Company of Philadelphia | Print Department Birch's views [Sn 17a/P.9485]

Title: Girard's Bank, late the Bank of the United States, in Third Street Philadelphia
Description: Street scene with a view of the Bank of the United States on Third Street. Shows groups of men in conversation, couples strolling the sidewalk, and individuals walking up the bank's steps. View also includes, horse-drawn carts traveling in the street and, in the right, an African American man laborer working with wood scraps in front of a nearby building. Designed by Samuel Blodget, Jr., the building was completed in 1797 and housed the first Bank of the United States until the revocation of the bank's charter by Congress in 1811. Purchased by wealthy Philadelphian Stephen Girard, the building became "Girard's Bank" and operated there for the next twenty years., Title from item., Illustrated in S. Robert Teitelman's Birch's views of Philadelphia (Philadelphia: Free Library of Philadelphia, 1982, rev. 2000), pl. 17., Accessioned 1979., 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: Birch, William Russell, 1755-1834, engraver
Date: [1828]
Location: Library Company of Philadelphia | Print Department Birch's views [Sn 17c/P.2276.38]

Title: Marriage of Tom Thumb
Description: Series of six cartes-de-visite size engravings of portraits and scenes from the February 10, 1863 New York City marriage of P.T. Barnum's Little People entertainers Charles Stratton, known as Tom Thumb, and Lavinia Warren. Includes: the ceremony; the couple; the attendants, fellow Little People entertainers Commodore Nutt, and Lavinia's sister, Minnie Warren; the "Reception"; the following morning "At Home" with the seated couple attended by an African American man servant, attired in a white collared shirt, a black bowtie, a gray waistcoat, and a black suit jacket and pants, who carries a tray; and a "Promenade" down Broadway. The wedding, paid for and heavily promoted by Barnum, attracted the social and political elite of New York., Title from series title., Date inferred from content., Series numbers and captions handwritten on verso., Manuscript note on recto of five of the series: Mr. & Mrs. Stratton., Possibly after Mathew B. Brady., Originally part of a McAllister scrapbook of portraits. McAllister Collection, gift, 1886., 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. 1863]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Thumb [5750.F.59a-e;(2)5750.F.169f]

Title: Africa. America
Description: Abolition print juxtaposing two female allegorical figures in chariots representing Africa and America. In front of a backdrop of tropical trees and huts, "Africa," depicted as a Black woman, is attired in a feathered headpiece, an orange shawl covering one breast, and a pink sarong. She holds a flag inscribed "Slave Trade abolish'd in England 1806" and the reins of two lions pulling her chariot. In front of a waterfall, probably Niagara Falls, "America," depicted as a white woman, is dressed in Native American attire, including a feathered headpiece, a breast plate, an orange cape, a pink and blue sari, and an axe strapped to her back. She holds the American flag, decorated with a portrait of George Washington, and the reins of two tigers pulling her chariot. Near the wheels of her chariot, a rattlesnake is coiled., Title from item., Date inferred by content and medium., Name of publisher illegible., Lib. Company. Annual report, 1969, p. 56., Purchase 1969., 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.
Date: [ca. 1808]
Location: Library Company of Philadelphia | Print Department *GC-Allegories [7812.F]

Title: Philharmonic T[h]eatre, Islington. Every evening at eight. [Sa]turday at three and eight. Sam Hague's Ori[gi]nal Slave Troupe at St. James's Hall, Li[me] Street, Liverpool. Every evening at 8, Saturdays at 3 & 8, all the year round. Positively for four weeks on[ly] commencing Monday, Feb. 14th. Terminat[ing] [on] March 11 [ ] been re-built since the fire), St. James Hall, Liverpool, March 13th, 1876
Description: Advertising print depicting a racist scene to promote Sam Hague's Original Slave Troupe after their dislocation from their permanent home theatre, St. James Hall, following a fire in 1875. Shows a rhinoceros, a bell on his tail, pulling a cart on which members of the minstrel troupe, portrayed as Black men and women caricartures, perform. On the head of the animal, a man sits, his legs straight out while he holds the pole of a banner designed as an American flag and that is marked with advertising text for the troupe. On the animal's back, men and a woman stand, play hand instruments, and dance on a raised plank. On the cart, men play string and wind instruments, including a bass and trombone, as well as one man, bare-chested and in boxing pants, holds up an open umbrella, on which another man sits and plays the drum. The men figures are attired in suits and/or shirt sleeves and pants. The woman figure wears a kerchief, long-sleeved shirt, with the sleeves pulled up and apron-like, checkered skirt. Scene also includes blades of grass and a flowering plant in the foreground. Sam Hague's Original Slave Troupe evolved from the Georgia Slave Troupe Minstrels for which Samuel Hague assumed part management in 1866. Within the year, the troupe of formerly enslaved individuals, including singers, comedians, and minstrels, traveled to Great Britain to tour the country. In 1869, Hague acquired St. James Hall in Liverpool as a permanent home for the company, as well as a site to organize touring companies. In 1875, the hall was razed by fire and for the next year, the Troupe performed from other theatres such as Philharmonic Theatre, Islington. By this time, the Troupe was mainly comprised of white performers who performed in Blackface and Hague had managed the Troupe with a few different partners., Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes., Title from item., Date inferred from promotional text on item., RVCDC, Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Print torn in half and with sections missing.
Date: [1876]
Location: Library Company of Philadelphia | Print Department **GC - Advertisements - Samuel Hague [P.2022.57.1]

Title: [Incomplete set of racist playing card game Game of In Dixieland. No. 1118]
Description: Incomplete collection of playing cards from the racist card game "Game of In Dixieland. No. 1118" issued by the Fireside Game Co. of Cincinnati, the subsidiary company established in 1896 by executives of the U.S. Playing Card Company. Advertised by the publisher as "life-like reproductions of characteristic sketches from the Sunny South," the captioned and lettered cards depict stereotyped and caricatured portraits and scenes of African American men, women, and children and African American southern life. The object of the game was to compile all the cards with the same letter into a book, with the winner holding the most books. Cards include: "A1. The Crossing Sweeper." Scene depicts an African American boy street sweeper on a street corner. He is attired in oversize jacket and pants. He also wears a cap and holds a broom. "A3. In Clover." Scene shows three young African American boys, attired in worn long-sleeve shirts and pants, seated on a log and eating quarters of a watermelon. The boy in the middle wears a bucket hat. Stacks of watermelon, including the remaining quarter of the one being eaten by the children rest at their feet. "A4. Picking Cotton." Scene shows an African American boy in a field of cotton, bent over, and picking a cotton boll. He wears a cap, long-sleeved shirt, and loose ankle-length pants. He is barefoot. Men picking cotton and a cart are visible in the background. "B2. Picking Up a Living." Portrait shows an African American girl holding a large satchel over her left shoulder. She wears a checkered, long-sleeved dress, and floppy hat. "B3 '"Jest A Restin’."' Portrait shows a young African American man seated on a crate next to a barrel and a second crate. He wears a domed cap; loose, long-sleeved jacket; cropped pants; and rolled-down boots., "D4. Heavily Laden." View shows two young African American girls, attired in ankle-length shift dresses, and aprons, and carrying buckets on their heads. Girl in left, balances the bucket on her head, and her apron contains a hole at the chest. The girl in the right holds the bucket on her head with her hands. They are bare foot and stand near the brick wall of a mill. "E1.A Georgia Charmer." Bust-length portrait shows an African American woman, slightly smiling, and her right hand resting on the side of her chin. She wears a light-colored blouse with slightly puff sleeves; a short-brimmed, straw hat; and bracelet. "F2. The Coquette." Full-length portrait shows a young African American woman, her hand on her hip, bare foot, and standing in front of the door to a log cabin. She wears a kerchief on her head, a shirtwaist, belt, and calf-length skirt. "F3 '"Look pleasant, please."' Reproduction of a drawn view shows an African American man taking a photograph of an African American woman, three African American children, and a dog on a beach. The women and children, attired in summer dresses and jumpers, sit and stand on a log and the photographer stands by a makeshift camera and removes the lens cap. The photographer wears a hat, overalls, and a long-sleeved shirt., "G2. A Genuine Brunette." Full-length portrait shows a very young African American girl, bare foot, attired in a shift dress, and seated on a step. She frowns slightly and she clasps her hands in her lap. "G4. Learning to Walk." View shows two, very young, African American girls, in blousy dresses, standing side by side on a sidewalk and in front of the brick wall of a building. "H3. The Virginia Pine Chopper." Full-length portrait shows an older African American man, with a white beard, seated on a stump, holding an ax over his left shoulder. He also has the handle of a tin pail over his left wrist and holds a walking stick in his right hand. He is posed in a dirt yard laden with sticks. Stacks of logs and a wooden fence are visible in the background."I2. A Mississippi Beauty." Half-length portrait shows a young African American woman, her left hand resting on the side of her chin. She looks slightly to the right and has a slight smile. Her hair is pulled back and somewhat teased at the crown. She wears a shirtwaist and checkered, apron dress., "J2. A Hidden Nest in the Bushes." View shows two African American boys seated on their knees in a field and eating slices of watermelon. They wear wide-brimmed caps, long sleeved shirts, and pants. Boy in right also wears a jacket. “J3. On the Wharf.” View shows an African American man and woman seated on the edge of a wharf. The man attired in a long-sleeved shirt, vest, pants, and cap, sits with his feet dangling over the edge. The woman attired in a shirtwaist, skirt, and cap sits with her feet on the wharf landing. Sailing vessels are visible in the background. "K3.'"Mos’ to de end ob de road."' Full-length portrait shows an older African American man, with a beard, seated on a chair, in front of a crumbling brick wall. He wears a worn jacket, vest, shirt, and pants. A hat with kindling rests at his bare feet. He holds a walking stick that he rests between his legs. "L3. Among the Virginia Pines." View shows a log cabin, in the distance, along a dirt road lined with dry underbrush and a few trees, some barren. A woman stands in the yard of the cabin. Fireside Card Co. was dissolved in 1908 and U.S. Playing Card Co. began to issue educational card games., Publication information from copies included in the World Web Playing Card Museum. Publication date inferred from copyright date included on box covers., Card letter printed in upper left corner., Copyright statement printed on 8 of the cards: Copyright ’96 by L.D. Baldwin., Gift of Jennifer Woods Rosner., Housed in phase box., Many stained and in poor condition., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Fireside Game Co.
Date: [1897]
Location: Library Company of Philadelphia | Print Department albums [P.2019.47]

Title: All together! Enlist in the Navy
Description: World War One recruitment poster for the United States Navy and depicting a white man American sailor standing among five other men sailors from allied countries. Flags are underneath each sailor to denote their nationality (left to right): Japan, France, United States, White Ensign of the Royal Navy used for the British Commonwealth, Russia, and Italy. In the left, the Japanese sailor, depicted with a dark-colored skin tone and attired in a blue uniform, holds his cap in his right hand. Next to him, the brown-haired, white French sailor with a mustache, attired in a blue shirt with two medals, a black utility belt, white pants, and black shoes, carries a rifle and bayonet in his left hand. He holds his cap up in the air with his right hand. The blond-haired American sailor, attired in a white cap and a blue uniform, stands in the center with his left arm around a sailor of the British Commonwealth. The British Commonwealth sailor, depicted with a light-brown color skin tone, is attired in a brimmed, straw sennet hat and a white sailor’s uniform (possibly to be portrayed from the Caribbean). He holds a telescope under his left arm and smiles at the American. The Russian sailor beside him with a mustache and attired in a white cap, a white shirt, and black pants, puts his arm on his back and on the back of the Italian sailor. In the right, the black-haired Italian sailor with a mustache and his face depicted with dark tones, is attired in a white cap, a blue shirt, and white pants. He stands and holds a rifle and bayonet over his right shoulder. In the background, battleships with Allied flags on the masts are visible on the water., Title from item., Publication information inferred from the content., Date from the artist's signature on recto: H. Reuterdahl, U.S.N.R.F. ’17., Accessioned 1980., Description revised 2022., Access points revised 2022., Henry Reuterdahl was a Swedish-born painter and illustrator who was well-known for his paintings of ships and nautical scenes. He served as artist-correspondent during the Spanish-American War and went on to develop a close association with the United States Navy.
Creator: Reuterdahl, Henry, 1871-1925, artist
Date: [ca. 1917]
Location: Library Company of Philadelphia | Print Department WWI Posters Drawer 2 Folder 12 [P.2284.191-204]

Title: These children Were turned out of the St. Lawrence Hotel, Chestnut St., Philadelphia on account of color
Description: Abolitionist group portrait of the propagandized fair-skinned children emancipated from enslavement, Rebecca Huger, Charles Taylor, and Rosina Downs, denied entrance to the hotel in December 1863 during a fundraising tour of the North. Touring on behalf of the Louisiana schools for the formerly enslaved established by Assistant Superintendent of Freedmen, Phillip Bacon, the rebuffed children were accepted at the Continental Hotel. Revenue from the sale of the portrait was to be donated to the education of emancipated enslaved people in the Department of the Gulf., Title from item., Date based on content., Name of photographer from duplicate photograph., See Harper's weekly, January 30, 1864, p. 71. (LCP **Per H, 1864)., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., Originally part of a McAllister scrapbook. McAllister Collection, gift, 1886., 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.
Creator: M'Clees, Jas. E. (James E.), photographer
Date: [1863]
Location: Library Company of Philadelphia | Print Department cdv portraits- group- Emancipated enslaved children [5775.F.68]

Title: Old Nick's new patent plan to make Nova Scotia tories, federals coodies, Hartford conventioners, nullifiers, national republican bankites &c
Description: Cartoon issued during the Bank War attacking Nicholas Biddle, president of the Bank of the United States, and his allegedly bribed New York newspaper editors for propagating an artificial financial crisis to sway public opinion in favor of the Bank. Depicts editors James W. Webb, Mordecai Manuel Noah, and probably Charles King using large screw presses to crush masses of working men ("workies"), including sailors, laborers, and butchers. Noah, fearing the strength of the "workies," loses control of his press from the shifting weight of his men; King twists his press and talks of the "division of the spoils"; and Webb urges a "good screwing" to gain the workers's suport and Biddle's fees. From below, the "workies" criticize the Bank as an institution of the aristocracy; allude favorably to Jackson and his veto of the Bank's recharter; scream their refusal to bow to a "golden calf"; and exclaim that they vote for liberty, not their "merchants breeches pockets." To the far right, Biddle hollers support to his "cousins"; "Jack Downing" questions the success of the presses; and a man with a monocle declares that the "workies" will not vote in the next election if they fail., Retrospective conversion record: original entry, edited.
Date: [1834]
Location: Library Company of Philadelphia | Print Department political cartoons - 1834-5 [5760.F.59]

Title: [Collection of billheads of pharmaceutical firms and related businesses, United States and United Kingdom, 1883-1905]
Description: Collection of billheads, dated between 1883 and 1905, containing decorative and ornate lettering, ornamented type, vignette illustrations, and pictorial details. Illustrations depict exteriors of storefronts and factories (some adorned in signage); pharmaceutical apparatus and tools; a sick-bed scene showing a doctor with a thermometer at the side of his female patient; an eagle perched on a cliff; the interior of a drug store; and a horse and groom. Some of the exterior views include patrons entering buildings, street and pedestrian traffic, as well as laborers at work. Pictorial details include a thermometer, floral imagery, frames, filigree and flourishes. Firms represented include Sagar Drug Co. (Duluth, Minn.); Sandhop, Fritsch & Co. (N.Y.); J. J. Seinsoth (Hartford, Conn.); S. H. Wetmore Company (N.Y.); J. E. Silliman (Erie, Pa.); Smith, Benedict & Company (Boston); Southern Drug Co. (Morristown, Tenn.); Stone, the Druggist (Fitchburg, Ma.); Strong, Cobb and Co. (Cleveland); Tarrant & Company (N.Y.); Thomsen & Muth (Baltimore); Dr. G. Ulrich (Erie, Pa.); Van Natta-Lynds Drug Co. (St. Joseph, Mo.); Van Vleet-Mansfield Drug Co. (Memphis, Tenn.); Vogeler, Winkelmann & Co. (Baltimore); William A. Whittem (Philadelphia); Winkelman & Brown Drug Co. (Baltimore); and Alfred Wright (Rochester, N.Y.). Billed patrons include T. Belhummeur, Lake Linden, Mich.; New York Department of Public Charities; Hartford Street Railway Company; H. A. Kerste, Schnectady, N.Y.; A. A. Beckman; Geo. H. Gilbert Mfg. Co.; A. S. Emmons; Carriger & Roberts; Fitchberg [?] Electric Light Co.; A. E. Phillips, Sinclairville, N.Y.; Dr. H.C. Porter & Son (Towanda, Pa.); W. P. Carriger, Morristown, Tenn.; J. F. Walther; D. W. Marris, Emporia; J. E. Chandler, Malvern; A. W. Holsey; Resinol Chemical Company; and H. F. Belanger, Houma, La. Collection also contains billhead of British chemist and druggist R. C. Walshaw (Huddersfield)., Some items contain manuscript notes and/or stamps acknowledging receipt of payments, terms of sale, and changes of address., Printers include Christie & Collier, Litho. Duluth; Strobridge & Co., Lith Cincinnati; A. Hoen & Co. Baltimore; S. C. Toof & Co., Memphis; and Craig, Finley & Co. Lith. Phila., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of William H. Helfand.
Date: [1883-1905]
Location: Library Company of Philadelphia | Print Department Helfand Popular Medicine Stationery Collection - Billheads, 1880- (S-Z) [P.2011.46.410-428]

Title: The great American steeple chase for 1844
Description: Cartoon depicting the presidential election of 1844 as a steeple chase race to the White House. Henry Clay, guided by the American eagle as he laments about the death of Harrison, leads the chase atop his half-horse/half-alligator mount. He is followed by: Massachusetts Senator Daniel Webster, uneager to leave his cooking cauldron of "Chowder"; South Carolina Senator John C. Calhoun, astride his "nullification Coota Turtle," which is stuck in a "Clay Bank"; former President Van Buren, on a fox, taking a "crooked and dirty" shortcut to avoid Calhoun; an "Old Solider," possibly James K. Polk attempting to "turn" his donkey to the "right way"; Richard M. Johnson, who has fallen off of his "old amalgamation nag," an allusion to his controversial multiracial wife; and a fallen man, possibly abolitionist Supreme Court Justice John McLean, wishing that he had a drop of "Democratic blood to let out." In the background, General Winfield Scott, astride a horse, and Commodore Charles Stewart, who sails a boat, discuss their lack of desire to be president. Inside the White House, Richard Tyler, a scroll inscribed "Irish Repeal" in his pocket, shakes and warns his sleeping father of the approaching "Philistines." Tyler responds smugly that he will be re-elected or "veto the whole concern," an allusion to his excessive use of the veto to stop the establishment of another national bank., Title from item., Date from copyright statement: Entered according to an act of Congress in the year 1843 by H. R. Robinson in the clerk's office in the District court for the Sc District of N.Y., Artist's initial lower left corner., Publication information supplied by Reilly., LCP copy trimmed., Described in Nancy Reynolds Davison's E.W. Clay: American political caricaturist in the Jacksonian era (PhD diss., The University of Michigan, 1980), p. 249-50., Purchase 1958., 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.
Creator: Clay, Edward Williams, 1799-1857, lithographer
Date: 1843
Location: Library Company of Philadelphia | Print Department political cartoons - 1843-8 [6264.F]

Title: The United States Senate A.D. 1850
Description: Proof of commemorative print depicting Henry Clay introducing his legislation known as the Compromise of 1850 to the Senate. The legislation aimed to prevent Southern secession and to address the extension of slavery into the territories. Depicts Clay, at the center of the Senate floor, standing with his right arm out from his side and addressing his fellow legislators that surround him, including Vice-President Millard Fillmore seated on a platform as President of the Senate; Daniel Webster, seated behind him and resting his head in his hand; and John C. Calhoun standing beside the seated Fillmore. The gallery is filled with white men and women spectators., Title from item., Date from copyright statement on copy in the collections of the Library of Congress: Entered according to Act of Congress, in the year 1855, by John M. Butler and Alfred Long, in the Clerk's Office of the District Court of the United States in and for the Eastern District of Pennsylvania., Text printed on recto: This engraving from the original picture is respectfully dedicated to the people of the United States by the publishers., Key to engraving in collections of the Library of Congress cites other sitters depicted including Thomas H. Benton, Lewis Cass, William H. Seward, William L. Dayton, Stephen A. Douglas, and Salmon P. Chase., Gift of David Doret, 2002., 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: Whitechurch, Robert, 1814-approximately 1880, engraver
Date: [1855]
Location: Library Company of Philadelphia | Print Department ***GC - Slavery [P.2002.26]

Title: [Photographic Society of Philadelphia's Chesapeake & Ohio Canal excursion, May 21-29, 1882 album]
Description: Album belonging to Philadelphia amateur photographer John C. Browne. Primarily documents the Photographic Society of Philadelphia's Chesapeake & Ohio Canal excursion (May 21-29, 1882), including views of the Falls of the Potomac, Point of Rocks, Md., Harpers Ferry, Va., and Bedford, Pa. Society members attending the excursion included Charles Barrington, Joseph William Bates, Charles Pancoast, Frederick Graff, Samuel Corlies, George Bacon Wood, Samuel Sartain, W.H. Walmsley, Francis T. Fassitt, lens maker Joseph Zentmayer, Thomas H. McCollin, and Browne. Views depict scenes during the excursion along the canal, including canal barges; bridges, aquaducts; Paw Paw Tunnel; John Brown's Fort; a white Bedford woman attending an outside bake oven; men and boys, including a barefooted African American boy, sitting upon a porch of an old Maryland mill; the Photo Party at Patterson's Creek, Md.; a horse team pulling an oak log near Harper's Ferry; an old Bedford mill; and a barn covered with circus posters. Additional views depict the Brooklyn Bridge; sailing vessels on the New York Harbor, including the steamboat Maryland; and animals at the Philadelphia Zoo. Other animal portraiture includes horses posed with African American handlers (p. 26-27), a cow and calf at Forrest Hill, PA, a white girl on a pony ride at Central Park, and family dogs. Also includes a portrait of Lizzie Gilpin at Forrest Hill., Title supplied by cataloger., Front free end paper signed John C. Browne., Blue cloth binding, with gilt and stamped: Album., Retrospective conversion record: original entry, edited., See John C. Browne's "The Photographic Society of Philadelphia Annual Excursion, May 21-29, 1882," Philadelphia photographer 19 (July 1882), p. 213-215., See George Bacon Wood research file, copy of "Excursion of the Photographic Society of Philadelphia over the Chesapeake & Ohio Canal, May 22 to 29th 1882. Read at meeting June 7th, 1882 by Geo. B. Wood.", Insert: handkerchief printed with photograph vignettes [P.9318a] removed and housed with Textiles Collection, Print Department., Gift of Col Getter, 1989., Description revised 2021., Access points revised 2021., Browne was a founder of the Photographic Society of Philadelphia.
Creator: Browne, John C. (John Coates), 1838-1918, photographer
Date: [1882-1886]
Location: Library Company of Philadelphia | Print Department albums [P.9318]

Title: Eminent women Mary A. Livermore. Sara Jewett. Grace A. Oliver. Helen Hunt. Nora Perry. Lucy Larcom. Frances Hodgson Burnett. Elizabeth Stuart Phelps. Louise Chandler Moulton. Louisa M. Alcott. Julia Ward Howe. Harriet Beecher Stowe
Description: Composite photograph created through the "paste-up" technique of cut-up negatives that are arranged, pasted together, and then rephotographed to present a realistic scene. Depicts a group of eminent Victorian women, including authors, writers, and women's rights, temperance, and abolitionist movements advocates, "posed" in the Montreal residence of railway financier George Stephens. Sitters (left to right), in the background, and standing, include: Mary A. Livermore; Sara Jewett; Grace A. Oliver; Helen Hunt; Nora Perry; Lucy Larcom; and Frances Hodgson Burnett. Sitters (left to right), in the foreground, and seated, include: Elizabeth Stuart Phelps; Louise Chandler Moulton; Louisa M. Alcott; Julia Ward Howe; and Harriet Beecher Stowe. Backdrop interior imagery shows parts of the reception hall, drawing room, stairwell, and conservatory of the Stephens' residence. Vases, a mantel, light fixtures, drapery, and a fountain are included in the backdrop. Pictorial details of foliage and a pond surround the portrait within a circular frame. Canadian photographer William Notman created the original portrait negatives used in the composite created by L'Africain. Notman was known for his innovative photography and his studio specialized in composite photographs by the 1870s. This image was also distributed "compliments" of the Travelers Insurance Company of Hartford, CT., Title from item., Date in negative in lower right corner., Name of photographer and publisher from imprint in negative and printed on mount and verso., Name of artist in negative in right corner., Sitter's names in title depicted with a single dot between first, middle, and last names and with double dots between full names., Copyrighted., Photographer and publisher's illustrated imprint printed on verso: W. Notman. The Notman Photographic Co. Limited. 3 Park Street, Boston, Mass. Also at 48 North Pearl St. Albany, N. Y. Saratoga, N. Y. Newport, R. I. Illustration depicts an objet d'art composed of a crown, foliage, banners, scrolls, coat of arms, and exhibition medals, including from the Centennial Exhibition of 1876. Image also contains text, including: "Honi Soit Qui Mal [Y Pens]e. Photographer to Her Majesty. Montreal." Imprint surrounded by ornately-designed border including lavishly-ornamented cornices., Purchased with the Davida T. Deutsch Women’s History Fund., Lib. Company. Annual report, 2016, p. 64-66., Description reviewed 2022., Access points reviewed 2022.
Creator: Notman Photo Co. (Boston, Mass.)
Date: 1884
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photo - Notman [P.2016.73]

Title: Folks do say, my little drummer,
Description: A Union military drummer carries a rucksack and a large snare drum on his side. The valentine criticizes the soldier's bad behavior before the war., Text: Folks do say, my little drummer, / That once you were a perfect bummer; / Made your living gathering junk, / And spent your money getting drunk. / If this be so, young friend of mine, / You'll never make a Valentine., "509", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: To a Recruiting Officer.
Description: A Union officer stands at a bar and holds a large tankard of beer. The valentine criticizes military recruiters who get men drunk so that they will enlist., Text: You're not a fascinating creature, / Either in manners, form or feature, / Neither your own mug, quaint and queer, / Nor that o'erflowing mug of beer, / Would tempt me, sir, were I a gent, / To join your rowdy regiment. / Don't try with drink to catch recruits, / Our army needs good men, not brutes-- / Men who love order and the laws, / Whose hearts are in their country's cause, / Whose nerves are strong, whose heads are clear, / Whose courage is not born of beer., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: A Head for Military Distinction.
Description: A Union soldier reads a copy of "Hardee's Tactics," a manual popular during the Civil War. His uniform is patched, and he has sideburns and facial hair stubble. "Burnside" refers to Union General Ambrose Burnside, whose style of facial hair came to be known as sideburns., Text: Be dad, and I'm after an officer's place, / And I think I am just the bold boy, / That can show old Burnside the way to advance, / And give the whole country much joy., Provenance: McAllister, John A. (John Allister), 1822-1896, collector., Provenance: Burnside, Ambrose Everett, 1824-1881., Provenance: Hardee, William Joseph, 1815-1873. Rifle and light infantry tactics
Date: [1861-1865?]

Title: A Recruiting Officer.
Description: A soldier stands at a bar drinking a tankard of beer. A sign behind him reads, "Wanted Recruits for the Army." The valentine mocks the recruiting officer for using alcohol to recruit unfit men., Text: Gentility, neatness and courage / In a warrior I hold to be dear / But uniform don't make the soldier / Nor a coward get courage from Beer., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: The Wounded Soldier.
Description: A Union soldier plays cards with another man. The soldier holds up a bandaged finger, and behind him is a bar with a sign that reads "Lager." The text suggests that the soldier's injury is minor and he's using it as an excuse to avoid fighting., Text: Soldier, O Soldier! what brought you home so soon? / Can you spend your time not better than in a gambling saloon? / To Skedaddle for the wound that on your finger you've got, / Is the excuse of a coward, and you may go to pot.. / For sooner than be the Valentine of such a cowardly elf, / I'd go and face the enemy, were I sure to be shot myself., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: Return of a Three Year's Volunteer.
Description: A Union soldier stands near a doorway and observes his wife changing his child's diaper. The valentine suggests that the realities of domestic life are shocking after military service., Text: Your time is up and you have come, / With blast of bugle -- roll of drum, / What meets your gaze? your tidy wife, / And the stern realities of life., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: To a Heavy Dragoon.
Description: A large Union dragoon rides on a small horse. "Old Dobbin" was an affectionate name for horses. The valentine mocks his poor horsemanship., Text: Men don't ride, my dear friend, to the red scene of slaughter, / Just as if they were taking old Dobbin to water; / You seat in the saddle is loose and ungainly, / Turn your knees in, and don't to your stirrups trust mainly; / Like an ox-goad don't carry that good piece of steel, stir, / Nor back into the next horse's chest when you wheel sir! / I know from the country you're fresh, but with training / There will soon be no trace of the rustic remaining; / If your heart's in the cause, all the rest will come easy, / But in hopes you'll improve. / If you do, I incline, sir, / To have you -- next year-- for my true Valentine, sir., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: To Mars, the soldier's god of war,
Description: A simian-faced Union soldier rides on a horse., Text: To Mars, the soldier's god of war, / You may perform your duty, / But you too great a blockhead are, / For Venus, queen of beauty., "462", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: To a Zouave.
Description: A Union soldier wears a Zouave uniform and holds two pistols out. He has a pistol tucked into his belt, and his sword scabbard hangs away from his body. A smoking cannonball lies between his feet and a bullet is near his head., Text: Hero! how my fond heart doats / On your trowser petticoats; / On your leggins, tight and trim; / On your cap without a brim; / On your lip of hair prolific, -- / Arab-Yankee-- you're terrific! / There's a wild light in your eye--/ Is it valor? Is it rye? / O! beware of whisky-skin, / Brains go out as that goes in. / Sober keep, and by the Nine! / You shall be my Valentine., Cf. Valentine 13.45., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: Bird's-eye view of grounds from resevoir.
Description: Aerial view of the exhibition from the reservoir. Architects: Connecticut State Building - D.R. Brown, from a design by Donald G. Mitchell; U.S. Government Building - James H. Windrim; Women's Pavilion - H.J. Schwarzmann; Machinery Hall and Main Exhibition Building - Henry Pettit & Joseph M. Wilson.
Creator: Centennial Photographic Co., photographer., creator
Date: 1876
Location: Centennial album [P.8965.11e]

Title: The Veteran.
Description: A Union soldier rests on crutches, has his left arm in a sling, and is missing his right hand and left leg. His rucksack is on the crutches. Chickahominy is a Virginia river near where the Battle of Gaines' Mill took place. The border shows cupids and hearts; one cupid shoots a heart out of a thimble cannon labeled "Love"; another cupid travels with a heart in a hot-air balloon; and another cupid hammers at a cracked heart below a heart on a fishhook labeled "Caught.", Text: Come up to the bar, old boy-- / Come up to the bar and drink: / Did you leave your leg and arms / On Chickahominy's brink? / There's lots of your sort around-- / Young heroes in a war grown old-- / And out on the niggardly hound / Who'd leave them "out in the cold.", Variant of Valentine 12.29 and Valentine 12.30., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1862-1865?]

Title: How suddenly, dear sir, you stopped your talk of war and glory,
Description: A man leans on a crunch and a walking stick. He wears a hat that says "D.B. Exempt." D.B. stands for "dead beat," a slang term for men who faked injuries or illness to avoid duty., Text: How suddenly, dear sir, you stopped your talk of war and glory, / When you thought a draft was to take place. But it's the same old story; / A dog that's always barking, they say will never bite, / So with one who talks of fighting, he's the last one to go fight. / There's a very apt old saying, and 'twill well apply to you, / That a man can't be a patriot, and be a coward too., "528", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: I very much mistrust, old Lotion,
Description: The doctor holds a cane in one hand and an umbrella under his other arm. Dangling from his waist is a syringe and a bottle sticks out of his back pocket. He stands before two tombstones, and a skeleton holding a pill bottle dances next to him. Calling him "old Lotion" could refer to the cleansing before medical procedures or to drinking alcoholic beverages. The doctor's cane resembles an enormous pill bottle, and his umbrella resembles an enormous syringe., Text: I very much mistrust, old Lotion, / You're in league with traitor men; / The reason why I've got the notion, / Is -- you more Patriots kill than them., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: Fee! Faw!! Fum!!!
Description: A Union soldier's head is shaped like a bomb, and his mouth is a smoking fuse. He stands next to a cannon. The title references the fairytale Jack and the beanstalk. The valentine mocks the soldier for his unappealing bad temper., Text: Who'd marry a man with a head like a bomb, / And a mouth with a smoking fusee? / What woman with him her life would trust, / For his head might at any moment burst, / And then, where would she be?, Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: Would-Be Hero.
Description: A Union soldier holds a long sword and draws it out of its scabbard. The sword is taller than the soldier., Text: So you want to get on McLellan's staff; / The though is enough to make any one laugh-- / Why, can't you see, you diminutive elf, / That your sword is almost as big as yourself? / Though you never will use it, / You should not abuse it, / And bang it about as you do; / For a sword of that size, / A man of your size, / From its scabbard never yet drew., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Title: Rock-a-horse, baby, and don't make a noise,
Description: A man sits and bounces a baby on his foot. The sender criticizes the recipient for not fighting in the Civil War and implies that his wife will cheat on him. The verse has the same meter and rhyme scheme as the nursery rhyme "Rock-a-bye baby.", Text: Rock-a-horse baby, and don't make a noise, / Your daddy belongs to the stay-at-home boys; / Kid gloves on his fingers, new boots o'er his toes, / He has fine music wherever he goes. / So rock-a-horse, baby, your mother may roam, / But you'll find that your daddy is always at home., "525", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1861-1865?]

Main menu

Pages