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Title: 2 headed girl, Millie Crissie
Description: Full-length portrait of the African American women conjoined twins and performers known as the "two-headed nightingale" and "Carolina twins." The twins wear their hair in chin-length pin curls and are attired in an off-the shoulder, short-sleeved, light-colored, calf-lengthed dress, black boots, and crown-shaped headpieces adorned with stars. Millie (left) holds a newpaper to her side in her left hand. Christine (right) holds a book in her hands in front of her. They stand, looking toward the viewer, and posed in front of a backdrop depicting a window view. The feet of a posing stand are visible behind their feet. Millie and Christine were born in Whiteville, North Carolina on July 11, 1851, to Jacob and Monemia McKoy who were enslaved to Jabez McKay. Various enslavers and managers exhibited the twins nationally and internationally. In 1870, the sisters traveled and performed throughout the midwest., Title from item., Photographer's imprint printed on verso., Contains semi-legible printed ink transfer in upper edge of image., See History and medical description of the two-headed girl:...(Buffalo, N.Y.: Warren, Johnson, & Co., 1869). (LCP Am 1869 Hist, 70318.D)., RVCDC, John H. Fitzgibbon was a St. Louis photographer who began as a daguerreotypist. He operated from 116 North Fourth Street between 1866 and 1876 before founding the journal, "The St. Louis Practical Photographer and Illustrated Monthly Journal."
Creator: Fitzgibbon, John H., 1816?-1882, photographer
Date: [ca. 1870]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Millie [P.2023.28]

Title: Amy Smith, April 17, 1876
Description: Half-length portrait of Smith, a young African American woman, posed to the left. She looks forward toward the viewer. She wears a plaid-patterned garment, a white, upturned collar, and a bowtie-like ribbon at her neck. Her hair is pulled back and she wears a hair band. Smith, born in Virginia resided in Philadelphia by 1870. Smith was buried at the Harmony Burial Ground, the burial ground of the African Friends to Harmony at 41st and Chestnut Street in West Philadephia. African Friends, founded in 1826, sought to provide a cemetery for low-income African Americans to be interred with dignity and respect. Several of those buried in the cemetery were associated with the Monument Baptist Church or the Mount Pisgah A.M.E. Church. The property was sold in 1910. In 2020, the remains of over 160 burials were transferred to Eden Cemetery., Title from manuscript note on mount., Photographer's imprint printed on verso., Printed on verso: No. [57860]. Duplicated any time if orderd by the original, or by a responsible person., Manuscript note on verso: died March 23d 1878., Partially purchased with funds for the Visual Culture Program., RVCDC
Creator: Reimer, Benjamin F., approximately 1826-1899, photographer
Date: [1876]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Smith [P.2023.17.1]

Title: Beadle's half dime singer's library. Selected favorites. Comic and sentimental songs of all nations and ages "An encyclopedia of song." For sale here. Price five cents
Description: Poster-size advertisement containing a montage of the cover illustrations for Beadle & Adams songbooks No. 1- No. 17 published May 18, 1878 - September 14, 1878. Montage laid out as a grid. Illustrations often depict gender, ethnic, and racial stereotypes. Includes No. 1. "Whoa Emma and 59 other songs" depicting the profile of a woman attired in a horse costume composed of a horse head-shaped head piece and red dress with an immense bustle and a horse tail; No. 2. "Captain Cuff and 57 other songs" depicting a blonde male effete wearing a monocle, checkered suit, blue overcoat with red lapels, and holding a top hat in one hand and twirling the tip of his mustache with his other; No. 3. "The Gainsboro' Hat and 60 other songs" depicting a profile portrait of a fashionable brunette woman wearing a wide-brimmed hat, red long-sleeved dress with yellow and blue bodice and holding a parasol stick in one hand and a flower to her mouth in the other; No. 4. "Johnny Morgan and 60 other songs" depicting a dark-haired, mustached male organ grinder singing and playing his street organ; its strap hung over his shoulder; No. 5. "I'll Strike You with a Feather and 60 other songs" depicting a fashionable blonde woman in a coy pose and holding a feather in one hand and her gathered skirt edge in the other; No. 6. "George the Charmer, O! And 60 other songs" depicting an African American male dandy, with a mischievous glint in his eye and attired in a top hat, ruffled white shirt, yellow vest adorned with a watch fob, blue waist coat with tails, red checkered pants, and gloves;, No. 7. "The Belle of Rockaway and 52 other songs" depicting a brunette woman in swim attire (kepi, long-sleeved blue blouse, yellow and green two-tiered, ruffle edged knee length bustled skirt); No. 8."Young Fellah, You're too Fresh and 60 other songs" depicting a blonde male bon vivant attired in an orange bowler, white collared shirt, red bow tie, blue jacket, fob, and light blue pants, standing, leaning back and with his hands, one holding an upturned cane, in his pockets; No. 9. "I'm a Shy Young Girl and 65 other songs" showing a young blonde woman attired in a long-sleeved green dress with red and yellow details and multi-tiered, ruffled skirt, and standing in a demure pose, her head slightly tilted, as she slightly leans over, with her hands clasped over each other and placed near her knees; No. 10. "I'm the Governor's only Son and 59 other songs" depicting a dark-haired, mustached, confident-looking man, attired in a bowler, tan coat with collar, and light blue pants, as he stands, one leg crossed over the other, and with one hand in a coat pocket and the other resting on a walking stick; No. 11. "Comin' Thro the Rye and 55 other songs" depicting a Scottish lad, attired in a cap and kilt, and blonde-haired lass, embracing each other about the waist, and on a stroll in a rye field; No. 12. "Wave my fan just so! And 60 other songs" showing a light-haired woman, attired in a red evening gown with gold trim, and holding a blue shawl over her arm and a large green fan to her face;, No. 13 "The Rollicking Irishman" depicting a hod carrier, attired in a yellow broad-rimmed hat, an open-collared red shirt, and blue pants, and standing with a hod over his shoulder near a ladder and a pile of bricks; No. 14 "Old Dog Tray and 62 other songs" depicting a fair-headed woman, her eyes closed, attired in a blue Elizabethan-style dress with red details, and holding a black long-furred dog by his collar; No. 15. "Whoa, Charlie! And 59 other songs" depicting a fashionably-attired couple with a dark-haired, mustached man on his knee, hands clasped, and behind a fair-haired woman who stands and looks over her shoulder at him; No. 16. "In this Wheat by and by and 62 other songs" depicting anthropomorphized grasshoppers, with valises, and at rest from travel, including playing sticks, on and near a fence post; No. 17. Nancy Lee" depicting a light-haired woman, attired in green shirt, yellow kerchief at her neck, and a red skirt, standing on a pier, and waving goodbye with a red-striped handkerchief to a ship at sea., Date inferred from date of publication (September 14, 1878) of last songbook advertised: No. 17. Nancy Lee., Advertisement reverses the titles of No. 11 and 12 from their listings in Albert Johannsen's "House of Beadle and Adams" (1950)., Gift of Robert Staples and Barbara Fahs Charles., Description revised 2021., Access points revised 2021.
Creator: Orr, Nathaniel, engraver
Date: [1878]
Location: Library Company of Philadelphia | Print Department **GC - Advertisements - B [P.2013.86]

Title: Beauty on the street--front view E. B. Hall, druggist. Established 1852. Wellsville, N.Y
Description: Racist trade card promoting druggist E.B. Hall and depicting an African American woman, portrayed in racist caricature and attired in a brimmed hat with decorative feathers, an elegant, long-sleeved dress with ruffles, gloves, who carries a tiny purse. She walks down the street carrying a parasol in her right hand and her small dog's leash in the other. Edwin B. Hall opened his drug in Wellsville, N.Y. in 1852., Title from item., Date inferred from content., Purchase 2001., RVCDC, Description revised 2021., Access points revised 2021., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department trade card - Hall [P.9984.3]

Title: [Bust-length portrait of an unidentified young African American woman]
Description: Bust-length portrait of an unidentified young African American woman slightly facing right. Her hair is parted in the center and pulled back, and she is attired in a high collared shirt with shoulder flounces with lace trim and a stick pin at her neck., Title supplied by cataloger., Date inferred from dates of operation of the photographer and attire of the sitter., Photographer's imprint with insignia stamped on mount., Purchase 2000., 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: Gilbert, Conrad M., photographer
Date: [ca. 1893]
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photographer - Gilbert [P.9853.2]

Title: [Bust-length portrait of an unidentified young African American woman]
Description: Bust-length portrait of a young African American woman, possibly Ella Townsend, looking slightly right. She wears her hair parted in the center and tied back and is attired in a calico shirt with puff sleeves and a bib-like neckerchief adorned with a pin., Title supplied by cataloger., Date inferred from dates of operation of photographer and attire of the sitter., Photographer's imprint stamped on mount., Manuscript note on verso: Ella Townsend. Grinaye?-Webster-Gleves., Purchase 2000., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Withers, William C., photographer
Date: [ca. 1898]
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photographer - Withers [P.9853.5]

Title: Catalogue of theatrical and public celebrities
Description: Trade catalog containing pages with rows of numbered vignette-size reproduced portrait photographs of female , male, and child entertainers. Includes bust-length, half-length, and full-length portraiture, with one sitter often depicted in several differently posed portraits. Sitters, predominantly women, are usually attired in costume and occasionally are posed as couples, or in character and with props and ornate backdrops. Costumes and props include hats and head pieces; tights and shorts; nautical, peasant, medieval and roman garb; umbrellas, fans and valises; chairs and hammocks; guns and swords; and instruments and animals. Unique costumes and poses include Jeannie Winston as a devil with wings; Kate Forsyth depicted as a sculpted bust; and Lizzie Harold sprawled on a floor., Sitters include French operatic soprano Marie Roze (1846-1926); American entertainer Lotta [Crabtree] (1847-1924); American actress Annie Pixley (1858-1893); comic actors Charles E. Holland and Ben Maginley (d. 1888); actress and theater manager Mrs. John Drew (i.e., Louisa Lane Drew); French magician Prof. Hermann, i.e., Alexander Hermann(1843-1896), author and actress Lillian Chester; and characters from "Pinafore.", Accompanied by pocket-size, printed catalog with preface promoting Gilbert & Bacon's large stock of portrait views of the "most artistic and prominent in their profession" in the sizes "Cabinets" and "Panels." Includes lists of sitters for 1692 "Cabinets" and 115 "Panels.", Front endpaper inscribed: George P. Campbell, Continental Hotel, August 1880. Campbell, probably a Gilbert & Bacon agent, resided at the hotel in the 1880s., Cloth binding, stamped "Scrap" on front cover and "Patented March 1876" on back cover., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gilbert & Bacon, the portrait studio established by Philadelphia photographers Charles M. Gilbert (b. ca. 1848) and William F. Bacon (ca. 1843-1900), operated ca. 1874-ca. 1929. The firm specialized in celebrity portraiture and photographed actors, baseball players, and members of high society. Following the death of Bacon in 1900, the firm continued in business under the management of Gilbert and Bacon's son Frank T. into the early 20th century.
Creator: Gilbert & Bacon
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department albums [P.8681.1 & 2]

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

Title: Compliments of Hershey Baking Co., York, Pa
Description: Illustrated trade card surrounded by a flower border depicting the profiles of two women in Renaissance robes reading a letter in a garden. Hershey Baking Company was founded by Jacob S. Hershey in 1899 as a bread bakery in York, Pennsylvania., Embossed., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department *trade card - Hershey [P.9631.4]

Title: Double Head Study of an Older and a Young Woman
Description: Gift of David Doret and Linda G. Mitchell, 2022., Label on the verso from Montclair Art Museum (Montclair, N.J.) (Double Head Study), Gift of Mr. and Mrs. Ethan D. Alyea. 1964.51., Bust-length, forward-facing portrait study of two white women. In the left, shows an older woman with brown ringlet curls framing her forehead and attired in a white lace day cap tied in a bow under her chin and a dark-colored dress with a white lace collar. In the right, shows a young woman with her dark brown hair parted in the middle and tied back and attired in dress with a white neckline. There is an additional portrait of a woman on the verso of the canvas. A cut out in the frame reveals the eyes of the portrait. A photocopy reproduction is taped to the back. Bust-length portrait of a white woman with her blonde hair tied back and attired in drop earrings, a multi-stranded necklace, and a light blue dress.
Date: ca. 1830s-1840s
Location: OBJ 922

Title: [Fashion print showing a couple attired in Quaker costume]
Description: Fashion print showing a young couple in plain dress on promenade. The man wears a broad-rimmed hat, white cravat, and suit. The woman wears a poke bonnet and a plain dress with a large white collar and puff sleeves. Each holds or wears gloves., Date from manuscript note on recto: Costume 1844., Philadelphia on Stone
Date: 1844
Location: Library Company of Philadelphia | Print Department BW - Fashion [P.2005]

Title: A five points exclusive taking the first steps towards the Last Polish
Description: Racist caricature depicting a group of middle-class African American women receiving a dance lesson at the "Bon Enfantfile Cross St. Saloon." Shows the four women in a semi-circle, looking at the white dance instructor, “Mr. Boeyfong,” in the right and one woman, in the center, looking at the viewer. Two of the women slightly pull up their skirts, one has her heels together and the other points her right foot. The women wear their hair in top knots, and all but one also wear hair adornments. Three are attired in off the shoulder puffed-sleeved dresses and one woman wears a blue dress with a collar. They all wear jewelry, including earrings and necklaces, as well as ankle-laced shoes and a red ribbon on one leg and a blue ribbon on the other, the latter to aid in the lesson. In the right, “Mr. Boeyfong” stands with his left foot pointed out and holding a violin in one hand and the corresponding bow down toward the foot of the woman across from him. He instructs the pupil to "hold in ze stomach and stick out behind!" He has sideburns and wears his dark hair styled out to the sides. He is attired in a white ruffled shirt, a vest with a floral pattern, a cravat with a floral pattern, a black waistcoat, blue pantaloons, white stockings, and slip on shoes adorned with ribbons. Behind them is a sign with the "Regulations" of the "Saloon" which state that the women must wear the ribbons to distinguish their right foot from their left; they must not come undressed; and they may not have more than ten partners at one time. The women figures are portrayed with oversized features and their skin tone is depicted in brown hand coloring. The man figure is portrayed with muscular physical features and small feet., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular above the image: Allons Mademoiselle raise ze leg wis ze red ribbon so bring him to ze ozer leg wis de blue ribbon, hold up ze head, elevate ze bosom, hold in ze stomach and stick out behind! tres bien ver well-/Now Mr. Boeyfong is dat ‘ere step right?, Contains a caption below the image, a quote from Shakespeare's "Hamlet":” A station like the herald Mercury. New lighted on a heaven kissing hill. -Shakespeare., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9187]

Title: [Full-length portrait of an unidentified older woman seated in a wheelchair]
Description: Full-length, forward facing portrait of an unidentified older white woman, seated in a wheelchair positioned at a slight angle. Sitter has gray hair parted in the center and is attired in a dark-colored lace cap with lappets and a dark-colored, long-sleeved dress with a white collar. Her cheeks are tinted pink. She holds a book, with the spine towards the viewer, in her right hand on her lap. Her left arm is propped on the armrest. A small pouch-like bag hangs from the corner of the back of the wheelchair visible in the left of the image. The chair back is covered with a patterned cloth., Title supplied by cataloger., Date inferred from photographic medium and attire of the sitter., Pink tinting on cheeks., Pad: Red velvet with a leaf in the center and decorative scroll border., Mat: Nonpareil., Case: Leather. Decorative geometric and leaf pattern in the center with leaves in the corners. Same design on verso.
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Cased photos – unid photo –unid sitter - ambro [P.2021.31]

Title: Game of Dr. Busby
Description: Early edition of the popular matching and memory card game designed by Ann Abbot and composed of four suits of five cards (Busby, Doll, Mr. Ninny-Come-Twitch, and Gardener). Suits are denoted with a different pictorial detail in the upper right corner: a mortar and pestle; pan of milk; an eye; and a spade. Suit of mortar and pestle cards depict “Dr. Busby” attired in a top hat, blue jacket with tails, and yellow pantaloons while standing with a walking stick and a bottle of medicine in his left hand in front of the corner of the “Busby Medicine's Drug" storefront with large display windows; “his Wife” attired in a long-sleeved red dress with yellow neckerchief and yellow cap while seated and embroidering; his “Son” wearing a mustache, a blue, cinched blouse, black pants, and a mortarboard, and standing with a walking stick in front a seminary-like building in the distant background; his female “Servant” wearing her hair in a low bun, a blue, deep neck dress with the sleeves pushed up, and a red apron while ironing a shirt next to a basket of laundry on a table; and “Doll, the dairy-maid’s black-eyed Lover” attired in a long-sleeved white shirt, red neckerchief, apron, and blue pants and standing, arms crossed, in front of a broom, wheel barrow of hay, and a barn yard in the distance., Suit of pan of milk cards depict “Doll, the dairy-maid,” her head tilted to the side, and attired in a corseted, red dress with half sleeves, a V-neck, and yellow apron while standing with a pail in one hand and the other behind her back near a fence and a milking stool; her “Father," balding, attired in a dark jacket, yellow vest, and blue pantaloons, while seated on a chair with a newspaper in his lap, a mug in one hand and smoking a pipe with the other beside a table with a tablecloth, lit candle, eye glasses, and a book; her “Brother” attired in a white, flouncy blouse with collar and red tie, yellow pants, and a yellow wide-brimmed straw hat and holding a rake in front of mounds of hay; her “Servant,” shown from the back, and attired in a blue sack coat, tan pants, and black wide-brimmed hat, while using a milkmaid’s yoke to carry pails of milk; her “pan of milk” being lapped at by a black cat while on a round table above a pail underneath it., Suit of eye cards depict Mr. Ninny-Come-Twitch attired in a top hat, yellow vest, red cravat, long black coat, and blue trousers with one hand on a walking stick and the other tucked into his coat while standing beside a dog resembling a greyhound; “his Wife,” her long hair on her shoulders and attired in a red, long-sleeved dress with bandeau neckline, and yellow apron while playing a piano from a book of music; his “Son” attired in a school outfit of a yellow short jacket with a white collar and blue pants, and his cap on the ground as he defends himself from a fight with another boy in school attire (red cap, red short jacket, and yellow pants) and with his fists up; his “Servant,” an African American man attired in a top hat, green coat with red collar and cuffs, ruffled white shirt, and tan pants while holding a basket over one arm and a whip in his opposite hand; and “One Eye” colored blue and part of a person’s face., Suit of spade cards depict “the Gardener” attired in a red jacket, yellow vest, and blue pants while holding a hook knife near a ladder and under a grape vine across from his hat on the ground and a fenced pasture in the background; “his Wife” attired in a blue, long-sleeved dress with white ruffled collar, and a yellow bonnet while using her apron to hold a bushel of roses in front of a young girl attired in a red dress with yellow pantaloons and yellow bonnet and holding a rose and basket; his “Son” attired in a red, blousy shirt, apron, blue pants, and wide-brimmed hat while using a hoe; his “Servant” attired in a short blue jacket, yellow vest and tan pants while walking through a fenced pasture and carrying a basket of fruit on his shoulder that hides his face; and his “Spade” resting idle on a stone wall on which a rose bush and other greenery climbs and two potted plants are displayed. "The Improved and Illustrated Game of Dr. Busby" first published in 1843 purportedly sold over 15,000 copies in 18 months. The game has been credited with creating the explosion in popularity of games in America during the 19th century and containing one of the earliest representations of an African American in an American game., Title from label pasted on maroon paper slip case: Gam[e] of Dr. Busby., Paper slip case contains a partially-removed illustrated label printed on green paper. Label depicts a woman ironing, i.e. the illustration on the Busby suit “Servant” card., Date from copyright statement printed on leaf of “Directions” pasted to inside of inner white cradle: Entered according to Act of Congress, in the year 1843, by W. & S. B. Ives, in the Clerk’s Office of the District court of Massachusetts., "Directions" explicate the suits, "players should sit round a table," and a player is to call upon his right hand neighbors for any card not in his own hand until "he calls for one which his neighbor has not in his hand." Directions also explain the next player needs to "call for those cards which have been called for and obtained by the first" so players must be attentive as "the game is made longer and more complicated by every failure of memory" until its close when the victor has all "four families united in his hand", LCP copy has variant title: Game of Dr. Busby., Purchased with the Davida T. Deutsch African American History Fund., Housed in phase box., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Abbot, Anne W. (Anne Wales), 1808-1908
Date: 1843
Location: Library Company of Philadelphia | Print Department albums - Busby [P.2015.28]

Title: The girl graduate: her own book
Description: Memory book compiled by Philadelphia High School for Girls student Mildred Davis Zaiser (later Cope) containing snapshot portraits with signatures and addresses of her classmates, including three African American students; prose and essays by her fellow students about their school experiences, teachers and classes; transcriptions of the class yell, motto, and commencement address; and class autographs and lists of class officers. Also contains an inserted snapshot photograph depicting four young well-dressed women in “Washington DC 5/9/14” (p. 31); snapshot photograph depicting history instructor “Miss Isabel W. Franklin” (p. 57); professional group portrait photograph showing the student members of “The Captain Ball Team of A prime 8” (a few of the girls hold a stuffed cat, a ball, and the school banners); anecdotal entries titled “Class Prophecy, And how it comes out” and “Class History”; tongue-in-cheek “Last Will and Testament” essay of student bequests to school instructors and departments; and a copy of the commencement announcement. “Miscellaneous” section contains several essays colloquially describing classes and written and signed by Zaiser’s fellow students, including ‘Physics Hour” written by Lucy Seiber (p. 169-171); “Mathematics Hour” written by Emily M. Woodward and Blanche Rostow (p. 172-177); “Drawing Hour” incomplete and unsigned (p. 178-179); “Physiology Hour” written by Marie Zaun (p. 181-184); “Gymnasium Hour” written by Della Martin (p. 185 -188); and “English Hour” written by Lillian Schivare (p. 189). Notes by Zaiser detailing the class flower and colors and her graduation gown and presents and the prose “Who’s Who in A8” written by Dorothy Noe (p 141-143) also comprise the manuscript content of the book. Captain ball is a game similar to basketball played on an area marked with six circles with the goal to pass the ball to the player in the end circle., Portrait sitters (p. 15-29) include: Rheba Luberoff, 1928 N. 7th St., Phila; Mary Olivell, 341 S. Lawrence St., Phila; Helen Mahoney, 1502 Hollywood St., Phila; Della Markie, 4118 Pechin St., Rox.; Minnie Mayerle, 2406 Sedgely St., Phila.; Minnie Mayerle, 2406 Sedgely St., Phila.; Della Markie, 4118 Pechin St., Rox.; Minnie Mayerle, 2406 Sedgely St., Phila.; Florence Martin, 1234 N. 54th St., W. Phila ;Lea Meisel, 630 N. 55th St., W. Phila.; Mattie Miller, 3859 Olive St., W. Phila. (African American student); Dorothy Noe, 3311 N. 17th St. [830 Windsor Square, Phila – crossed out in different hand]; Tillie Mellanoff, 634 Hoffman St., Phila.; Mary Patterson, House of Correction, Holmesburg; Helen Pechin, N.E. Cor. 20th St. and Columbia Ave., Phila.; Lillian Pollard, 5339 Lena St., Germantown; Helen Radcliffe, 801 E. Washington Lane [6213 Germantown Ave G’m’t – crossed out in different hand]; Blanche Rostow, 1222 N. 7th St., Phila; Marion Schurer, 1103 Fairmount Ave., Phila.; Lillian Schware, 1342 Poplar St., Phila.; Lucy Seiber, 7024 Second St. Pike, Lawndale, Phila.; Elva Smith, 2502 N. Garnet St., Phila.; Fannie Still (later Lloyd)(abolitionist William Still’s granddaughter), 1607 Bainbridge St., Phila.; Helen Taylor, Upsal and Sullivan Sts.; Esther Tittman, 419 Moore St., Phila; Arabella Turney, 2334 S. 17th St., Phila.; Rosalie Tutleman, 5230 N. Broad St., Phila.; Grace Wilhelm, 1524 Parker St., Phila.; Annie Wood, 762 N. Uber St., Phila. (African American student); Emily Woodward, 518 W. Venango St., Phila.; Mildred Davis Zaiser, 4548 Manayunk Ave., Rox.; Marie Zaun, 122 E. Gorgas Lane, Mt. Airy; and Alberta Goodwin, President of the Graduating Class, Feb. 1915., The portraits are bust-length and the sitters are posed in profile, facing forward, and looking down upon books. Most of the young women wear their hair long and swept back and up. Some wear their hair bobbed or with bangs. The attire of most of the students include white or patterned blouses and neckties and neckerchiefs. Some also wear necklaces and/or jackets or smocks or ribbon headbands., Book illustrated with art nouveau-style pictorial, border, and ornamental details depicting images of young women in flouncy dresses reading newspapers, holding brownie cameras, writing invitations and in a journal; views of desks and shelves containing objects associated with studying, school, and young women, including books, ink wells, candlesticks, a box of letters, and flowers; and borders and ornaments composed of rose and floral designs., Bound in limp olive suede with blind-embossed design and gilt titling on front cover. Cover stamped with design composed of book, quill pen, and a bough of greenery with banner., Title stamped in gilt on cover: The Girl Graduate: Her Own Book., Contains inscription: This book belongs to [Mildred Davis Zaiser]. Graduated from [The Philadelphia High School for Girls. 17th and Spring Garden Sts.] Inscription in art nouveau-style border shaped like a frame and composed of flowers and branches., Title page illustrated with art nouveau-style border composed of vinery, roses, and the bust of a young woman attired in a flouncy blouse and with a yellow ribbon in her hair., Table of Contents: Date. Flower. Colors 11; Class Yell. Motto 13; Class Photographs 15; Class Autographs 33; Class Officers 49; The Teachers 53; Class Prophecy 61; Her Invitations 75; The Programmes 83; Social Events 95; Press Notices 113; Her Gowns 125; The Presents 133; Jokes and Frolics 141; Baccalaureate Sermon 161; Miscellaneous 169., Several editions of "The Girl Graduate" with variant cover designs and a loose leaf version were published 1906-ca. 1927., Purchase 2015., Description revised 2022., Access points revised 2022., Mildred Zaiser Cope (1897-1981) was raised in a German section of Philadelphia and noted as the "German Dictionary" by her classmates at her graduation in 1915. She still lived with her parents in 1920 when she worked as a clerk for the Board of Education. By 1930 she had married William Cope and lived in Norwalk, Connecticut., Louise Perrett (b. 1878) was an illustrator who studied under Howard Pyle. She was also an instructor at the Art Institute of Chicago circa 1920s. She partnered with Sarah K. Smith on several memory albums first published by Reilly and Britton Co. in the early 1900s. By 1940 she was an art teacher at the Elizabeth Peabody House in Boston.
Creator: Perrett, Louise, illustrator
Date: [ca. 1915]
Location: Library Company of Philadelphia | Print Department albums [P.2015.2]

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

Title: [Half-length portrait of an unidentified, seated woman]
Description: Half-length, forward facing portrait of an unidentified white woman seated on a chair. Sitter has long, dark hair, parted in the middle, and looped behind her ears. She is attired in a dark-colored, short-sleeved, silk dress with buttons down the bodice and a white lace collar, and black lace, fingerless gloves. A broach adorns her collar. She rests her right forearm on a table covered in a patterned cloth. The sitter’s left hand is slightly clenched and rests on her lap. Her lips and cheeks are tinted pink., Title supplied by cataloger., Date inferred from photographic medium, attire of the sitter, and dates of operation of the photographer., Pink tinting on lips and cheeks., Attributed to McClees & Germon., Pad: Red velvet. No design., Mat: Double elliptical., Case: Leather., Contains weeping glass deterioration., Edges of daguerreotype plate are tarnished., Gift of Jane Hastings, 2011., James E. McLees (1821-1887) and Washington Lafayette Germon (1822-1877) operated as partners from 1846 to 1855 in Philadelphia.
Creator: McClees & Germon, photographer
Date: [ca. 1850]
Location: Library Company of Philadelphia | Print Department Cased photos – photographer – McClees & Germon [P.2011.56.3]

Title: [Half-length portrait of an unidentified woman, seated]
Description: Half-length, forward facing portrait of an unidentified white woman. Sitter has long, dark hair, parted in the middle, and looped behind her ears. She is attired in a dark-colored, long-sleeved dress with buttons down the bodice and a white collar, and black lace, fingerless gloves. A broach adorns her collar. Her lips and cheeks are tinted pink. She is seated and holds a book labeled, Message and Documents 1857-8 Part 1 (i.e., Congressional documents), on her lap with her right hand. She crosses her left arm over her right and rests her left hand on her right wrist., Title supplied by cataloger., Date inferred from photographic medium and attire of the sitter., Pink tinting on lips and cheeks., Cased image accompanied by a lock of hair and four feathers from an Amazon parrot., Gift of Ivan Jurin, 2022., Pad: Red velvet with flowers within a decorative scroll border., Mat: Nonpareil., Case: Leather. Decorative geometric and scroll pattern in the center with leaves in the corners. Same design on verso.
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Cased photos – unid photo – unid sitter [P.2022.29.1-1a]

Title: Harrison's Columbian hair dye Manufactured by Apollos W. Harrison, 8 1/2 South 7th St
Description: Advertisement for the Philadelphia perfumer and ink manufacturer containing an ornate frame comprised of vignettes, pictorial details, and ornaments surrounding ornamented text. Vignettes depict patriotic symbols of the American eagle and U.S. shield and two scenes. Scene in the left shows a gentleman being attended to by his valet. The gentleman has wavy, ear-length, dark hair and wears a blue and red patterned dressing gown. The valet, in a grey suit, looks at a bottle in his gentleman's left hand. The gentleman scratches his head with his right hand. Scene in the right shows a woman, looking down, pulling her fingers through her long dark hair that rests over her shoulders past her waist. She wears a peasant-like dress with a red bodice and green-striped skirt with a paisley pattern. The border also contains scroll-like pictorial details, geometric shaped ornaments, and pattern backgrounds. A thick, blue block of color frames the border like an outline. Harrison, originally a book, map, and ink dealer, began operating his perfumery, including hair dyes, circa 1853. By the late 1850s, Harrison employed over 80 employees, including 25 traveling agents., Artist's imprint in lower right and left of stone., Not in Wainwright., Philadelphia on Stone, POSP 291
Creator: Schussele, Christian, 1826?-1879, artist
Date: [ca. 1853]
Location: Library Company of Philadelphia | Print Department *BW - Advertisements - H [P.2015.71.2]

Title: Harrison's Columbian hair dye Manufactured by Apollos W. Harrison, 8 1/2 South 7th St
Description: Advertisement for the Philadelphia perfumer and ink manufacturer containing an ornate frame comprised of vignettes, pictorial details, and ornaments surrounding ornamented text. Vignettes depict patriotic symbols of the American eagle and U.S. shield and two scenes. Scene in the left shows a gentleman being attended to by his valet. The gentleman has wavy, ear-length, dark hair and wears a blue and red patterned dressing gown. The valet, in a grey suit, looks at a bottle in his gentleman's left hand. The gentleman scratches his head with his right hand. Scene in the right shows a woman, looking down, pulling her fingers through her long dark hair that rests over her shoulders past her waist. She wears a peasant-like dress with a red bodice and green-striped skirt with a paisley pattern. The border also contains scroll-like pictorial details, geometric shaped ornaments, and pattern backgrounds. The background is printed in red and is framed by a blue border. Harrison, originally a book, map, and ink dealer, began operating his perfumery, including hair dyes, circa 1853. By the late 1850s, Harrison employed over 80 employees, including 25 traveling agents., Title from item., Date and publication information supplied Library Company duplicate with variant colors., Not in Wainwright., See related: *BW - Advertisements - H [P.2015.71.2]., Gift of David Doret., Philadelphia on Stone, POSP 291a
Creator: Schussele, Christian, 1826?-1879, artist
Date: [ca. 1853]
Location: Library Company of Philadelphia | Print Department *Doret and Mitchell Collection – Prints [P.2022.62.3.45]

Title: Hofmeister Woolen Mills, from loom to wearer. Spring 1908. Summer 1908
Description: Mail order catalog containing illustrations of female models attired in women's summer wear, including suits, jumper dresses, shirtwaists, coats, hats, undergarments, corset covers, underskirts, petticoats, nightgowns, and "Misses' and Children's Jackets." Several of the models are grouped in scenes with thematic backgrounds, including parlors, a park, and street scene. Also contains promotional and instructional text detailing the "supremacy" of the Hofmeister garments, how to place an order, payment terms, and additional fees for "Extra Large Garments;" detailed descriptions of the clothing; style numbers; and prices., Accompanied by original illustrated envelope. Ilustration depicts three well-dressed ladies at a summer resort., Cover illustration depicts two ladies in formal summer wear disembarking from a horse-drawn carriage. The women's attire includes embellished hats, a long cape, and an umbrella., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of Helen Beitler and Estate of Helen Beitler., Order blank and post cards inserted in catalog.
Date: [1908]
Location: Library Company of Philadelphia | Print Department Helen Beitler Graphic Ephemera Collection - Hofmeister [105358.O & 105358.O.a]

Title: Illustrations of Philadelphia
Description: Scrapbook containing newspaper clippings, prints, drawings and manuscript notes, predominantly dated to the 1850s, pertaining to the history, the built environment, and social climate of Philadelphia. Subject matter includes clippings about Federalists, Leiper Railroad, beer brewing, historic private houses, and Patrick Lyon from the newspaper column series "Reminiscences of Philadelphia" (Christian Observer, 1856), "Philadelphia Peculiarities" (Philadelphia Sunday Mercury, 1856), and "Recollections from the Past" (authored by Poulson) and "To Readers and Anxious Inquirers" (Sunday Dispatch, 1856); articles about the early history of Germantown and Independence Hall, the origin of April Fools, a “Venerable document,” i.e., a 1747 indenture between the Library Company and librarian Robert Greenway, and the 1859 cholera epidemic at the Arch Street Prison; and newspaper advertisements for the Zoological Institute (48 S. Fifth St.), Page's Patent Safety Cab, and Colonel Chaffin, “The Celebrated Dwarf, at the Masonic Hall" (1845). Also contains an editorial about the poor quality of the Philadelphia Directory for 1865; a song sheet "Social Quoit Club" by Charles Alexander inscribed with a note about its provenance by Poulson on the verso; Poulson manuscripts about notable houses, including the Butler Mansion (Chestnut & Eighth Sts.), William Waln House (Chestnut & Seventh Sts.), and James Fisher mansion (Chestnut & Ninth Sts.); and prints, watercolors, and sketches, several created and signed by Poulson, predominantly showing Philadelphia residences, landmarks, and city and landscapes., Graphic materials include a Charles Magnus print after the Trumbull painting, "Declaration of Independence, July 4, 1776"; the captioned George Gilbert illustration "A View of the Grand Civic Arch... in Honor of Lafayette" (1824); a Le Met miniature portrait of Timothy Palmer; a James McClees photograph of the engraving "The Hour of Sunset, on the Fourth of July 1776" and Poulson watercolor and sketches (often with extensive manuscript captions) showing "Episcopal Academy," "A House on the North side of Chestnut Street, next to that on the N.E. corner of Eighth Street, lately occupied by Danl. W. Coxe, Esq. who deceased there June 3, 1852" (1857), "Sketch of the river Schuylkill at Fairmount. The wooden floating bridge and tavern &c by C. A. P. under the tuition of Jemmy Cox, the drawing master," "Jonathan Leedom’s Iron Store, no. 211 S. Front St. or now no. 343," "Sketch of the Emlen or [Benendye?] house Chestnut St. opposite the State house and next to Jacob Ridgway’s house on the east" (1858); and advertising vignettes and cameo stamps for businesses, including a segar store (Mulberry St.), G. S. Appleton, bookseller, publisher & importer of foreign books (148, i.e, 600 block Chestnut St.), W. C. Allen, broom & variety store, and a multi-manned press of “The Saturday Evening Post.” Other images include satiric women's fashion vignettes and a cut out caricature of an African American man advertising Sanford's Opera House., Majority of contents annotated with a date by Poulson., Title page illustrated with a ca. 1856 lithographer's advertisement issued by Wagner & McGuigan. Depicts an allegorical, patriotic scene with the figure of Columbia, attired in a toga, American flag, and laurel wreath, and with a broken shackle under her foot as she stands on a pedestal., Verso of title page contains Poulson inscription: "The "Articles" in the book are taken from fugitive sources only; and the dates affixed to each are those of the newspapers &c from which they were procured.", Back free end paper contains Poulson inscription: "The dates of the articles herein, are those of the Newspapers &c from they are cut.", "Index to set in back part of vol. XI.", Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Poulson, Charles A. (Charles Augustus), 1789-1866, compiler
Date: ca. 1824-1864
Location: Library Company of Philadelphia | Books & Other Texts | Rare Poulson scrapbooks - vol. 2 [(2)2526.F]

Title: Illustrations of Philadelphia. Vol. IX
Description: Scrapbook containing newspaper clippings, prints, and ephemera predominately dated 1857 and pertaining to the built environment, and social, cultural, and economic climate of Philadelphia. Majority of the contents are articles about city businesses and industries; public interest stories; editorials relating to public concerns and social mores; reports, lists, and statistics; and caricatures and cartoons. Several articles concern the new house numbering system; the chartering of Fairmount and Sedgeley parks; the Academy of Music (New Opera House), including the inaugural ball and first opera season; the temporary relocation of the Post Office; progress of Camden; volunteer fire companies, including the debate over the oldest instituted, new fire houses, and parades; fires on the 300 and 600 blocks of Chestnut (i.e., Peterson/Goodyear building and Melodion); transportation, including omnibus lines and the Camden and Atlantic, and Philadelphia and Baltimore Central railroads; and the new coinage of cents issued from the mint. Also contains numerous columns about building dedications, laying of cornerstones, and improvements and new construction to the city’s infrastructure, including Drown’s Umbrella Manufactory (86 Market); the silver plated ware establishment of John O. Mead (Ninth and Chestnut); the Butler house lot (800 block Chestnut); the hall of the "Colored Masons"; the Spring Garden district and Northwestern section of the city (Twelfth, Thirteenth, and Fifteenth wards); the Pennsylvania Bank building; First Welsh Presbyterian Church (1500 Lombard); the Penn Widow’s Asylum; Washington building (000 block S. Third); and the restaurant of John Campbell (500 block Chestnut)., Other articles describe the Library Company’s receipt of the ca. 1720 Peter Cooper painting of Philadelphia; culture, politics, and economy of the year 1856; local medical schools and hospitals, including Penn Medical University, Jefferson Medical College, Philadelphia small-pox hospital, and Eclectic Medical College; local industries and trades, including Wood & Perot's ornamental iron work establishment, Newell & Knight barrel making machinery and the oyster trade; and Moyamensing Prison. Anecdotal columns and editorials provide commentaries about Philadelphia Insurance companies; Aprils Fools Day; servants; tramps; the city’s “noisy spot” of Third and Chestnut; the lore of stage coaches; popular catch phrases, including those from the theater; the Molly Maquires; the public expense of public lamps and paupers; the importance of newspapers, including as a more perfect venue for advertising than storefront signage; the poor use of the language in classified advertisements; storefront and tavern signages (p.41-42); and the cricket mania. Also contains historical pieces about the University of Pennsylvania; Independence Square; Chew’s Mansion; Zion Lutheran Church; and the Chinese Museum; reports, lists and statistics detailing the crime and mortality rate, sales of stocks and real estate; the retail, cattle and produce markets, meteorology and weather, telegraph use for the year, the comparative health of manufacturing cities, and architectural improvements in progress; a column about how the 1785 city directories represented the population of the city from the series "Philadelphia As It Was"; and an illustrated article about shawls., Graphics, predominately caricatures and cartoons, include lithographs, engravings, and wood engravings. Majority of cartoons satirize the hoop skirt, including the Clara and Charles series. Other cartoons satirize German beer culture, patent medicine, P.T. Barnum, and the social mores of the upper classes. Caricatures, often racist, depict African Americans while at work, including a sweeper, cook, and painter. Prints also include advertisements, vignettes, and views. Advertisements depict the Union hotel (300 block Arch); Thornley & Chism, importers, jobbers and retailers of fancy & staple dry goods (N.E. cor. Spring Garden and Eighth); Lincoln, Wood & Nichols, manufacturers and importers of straw goods; and Fairbank’s patent platform scales. Vignettes depict a knife cleaning apparatus, Olmstead stove, and a piano. Views show a genre scene titled by Poulson "An ‘omnibus’ sleigh and a 'rung' "; the Academy of Music; Jefferson Medical college, Presbyterian Church; Central Presbyterian Church; and "The Performing Elephants" at the National Circus accompanied by the classified for the performance. Scrapbook also contains ephemera, including the "Deaf and Dumb Alphabet" chart inscribed "In use at Phila Institution 1857 as per report Jany 1858" ; a "Premium medal, Franklin Institute"; and two elaborately illustrated tickets to the Pennsylvania Horticultural Society., Majority of contents annotated by Poulson with dates and explicative manuscript notes., Title page trimmed and illustrated with a ca. 1856 lithographer's advertisement issued by Wagner & McGuigan after the work of lithographer Maurice Traubel and artist William Croome. Depicts an allegorical, patriotic scene with the figure of Columbia, attired in a toga, American flag, and laurel wreath, and with a broken shackle under her foot as she stands on a pedestal., Chart "Length of Squares East and West" pasted on verso of title page., Label inscribed "The "Articles" in the book are taken from fugitive sources only; and the dates affixed to each are those of the newspapers &c from which they were procured CAP" pasted on verso of front free end paper., "Index to set in back part of vol. XI.", Insert: “Report of the President of the Girard College to the committee on Instruction September 3, 1850, Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Poulson, Charles A. (Charles Augustus), 1789-1866, compiler
Date: 1857-1858
Location: Library Company of Philadelphia | Books & Other Texts | Rare Poulson scrapbooks - vol. 9 [(9)2526.F]

Title: Illustrations of Philadelphia. Vol. X
Description: Scrapbook containing newspaper clippings and prints predominately dated 1858 and pertaining to the built environment, and social, cultural, economic, and political climate of Philadelphia. Majority of the contents are articles about city businesses, industries, and municipal services; public interest stories; editorials relating to public concerns and social mores; and reports, lists, and statistics. Subjects include the operation of the fire department, including the introduction and trials of steam fire engines, the discontinuation of fire bells, and the yearly report of the “Fire Detective”; the City Passenger Railroad, including its commencement, progress and improvements to the city, and the auction of former omnibus horses at Herkness’s Auction House; balls, parades, lectures, and other forms of entertainment, including the questionable protocols of the minor theatres, horse racing in Chestnut Hill, and the opera season at the Academy of Music; fashion, including histories of the red petticoat and crinolines, hoop skirts, and satires about style and cost; the prison system, including Eastern State Penitentiary and corruption; the Great Comet and Blizzard of 1858; the removal of the market sheds and increasing the value of properties on Market Street; the inauguration of the Schuylkill Navy; and the economic state of shad fishing and fisheries, the oyster trade, dairy owners, ice dealers, paper manufacturers, and dentists., Several articles also report about city construction, improvements, and renovations. Sites referenced include businesses on downtown Chestnut Street and in South and North Philadelphia (Bailey & Co., silverware; Levy & Cox, retail dry goods store; Caldwell & Co., jewelry; the Butler House Hotel; John McClure, stationery store; John Fuss, lager beer); Church of the Incarnation, and Pine Street Presbyterian and Tabernacle Methodist Episcopal churches; Hunting Park; and the new market house (Sixteenth and Market). Editorials address the institution of a city ordinance against public smoking; the daily inhabitants of the State House Square and Custom House steps; the plight and nuisances of city street beggars, fortune tellers, gamblers, and organ grinders; and the heavy use of opium by Americans. Additional articles discuss Christmas, including retail store windows adorned for the holiday; events and activities of local organizations, including the Washington Monument Association, American Systematic Beneficence Society, American Veterinary Association, and the Newsboys’ Aid Society; auctions by M. Thomas & Sons, including the Howard Tilden estate, the wine cellar of the late Joseph Gratz, and oil paintings sold below market value; the closing of the Jones Hotel; proposal by city commissioner James M. Leidy for the creation of ward maps to aid city development; histories of the 12 1/2 Society and Hurst Mansion; the exercise mania; lost and found advertisements; the “fogyism” and “favoritisim” of the Franklin Institution mechanical exhibitions; and views of historic landmarks and the Hope Hose Company by photographers James McClees (p. 57) and Walter Dinsmore (p. 102)., Reports, lists and statistics detail mortality and crime rates; the domestic, flour, produce, hay, cattle, and pork markets; the weather for the week, season, and year; real estate and stock sales; churches in the city; taxes; the public schools; fire companies; current town topics; and “Local” and “Noteworthy” events, fires, and railroad and steamboat accidents for the year. Also contains the “Annual Message of the Mayor” reporting on the state of the city and classifieds for patent medicines and entertainments, including fortune tellers, the National Circus, and balls and parties attended, according to Poulson, by “firemen, apprentices boys, new boys, gamblers and fancymen" who are the " ‘efficient beaus’ " of the factory girls, milliners, shop girls etc."… on the occasions.” Ephemera includes a “Ticket of Admission to ‘Franklin Hall’ " for the Heenan & Jones Sparring Exhibition., Scrapbook also contains graphics including an albumen print, engravings, wood engravings, trade cards and cameo stamps. Comic and advertising vignettes, caricatures, and advertisements predominate as genres. Comic vignettes include many satirizing the fashion of large hoop skirts. Other vignettes satirize the new police uniform, gentlemen’s collars, the Irish, and African Americans ("Baker-street beauties"). Non-satiric vignettes show predominately home furnishings and wares, including silver utensils and serving ware, boxes for papers and deeds, a wire dish cover, coffee pots and kettles, pudding moulds, perforated nursery lamps, serving platter, and a double oven cooking stove. Caricatures (some hand-colored) depict burglars (annotated by Poulson as “ ‘fair hits’ at…the inconsiderable folly of the ‘compassionate’”); "The City Inspector," i.e., a street rag picker; the crude manner of men “on the balconies in front of the ‘gentleman saloons’”; a ‘Schuylkill Ranger’ and “chocker’ gang member; “A Juvenile Party” annotated as "A fair hit at precosity [sic]"; Kris Kringle; and comparisons of country and city doctors, store-keepers, and belles., Advertisements include views of " 'Sharpless’ new store on the N.W. cor. of Chestnut and Eighth Street (Butler property)' "; Crystal Building, F.H. Smith, forte monnaie, pocket book, & dressing case manufacturer (Fourth and Chestnut); Barnes cough syrup establishment (333 Chestnut); Giovanni & Oliver, wholesale fruit store (248 Market); Bailey & Co., British sterling silver ware (819 Chestnut); Perry & Erety, booksellers, binders & stationers (Fourth and Race); Warnick & Leibrandt, Philadelphia Stove Works & Hollow-Ware Foundry (First Wharf above Noble Street); Girard House ( 800 block Chestnut); Henry O.B. Banks, paint and glass store (400 block Callowhill) French, Richards & Co., wholesale, drug, paint & glass warehouse (1000 block Market); M’Daniels & Fort, saddlery, hardware & coach trimmings (101 N. Third); Wright, Hunter & Co., plumbers and gas fitters (900 Walnut); Moore’s Porter & Ale Brewery (1300 block Fitzwater); Anspach, Jacoby & Co., dry goods (Third and Cherry); J. Thornley’s India Rubber Emporium (311 Chestnut); John C. Keller, stove manufacturer (Ridge Avenue and Willow Street); St. Lawrence Hotel (1000 block Chestnut); Merchant’s Hotel (000 block N. Fourth Street); Mansion House (1000 Market); and Weymer & Brothers, dealers in warm air furnaces, stoves, and ranges & c. (1000 block Coates). Graphics also depict a photographic reproduction of a daguerreotype of the moon, a hand-colored illustration showing lady’s "Winter Fashions," and an illustration of "Lalla Rookh, The Tight Rope Elephant" annotated “exhibited at ‘Dan Rice’s great show’ … 29th of March 1858.” Many of the advertisements include street and pedestrian traffic and merchandise displays., Majority of contents annotated by Poulson with dates and manuscript notes, particularly social commentaries., Title page illustrated with a ca. 1856 lithographer's advertisement issued by Wagner & McGuigan after the work of lithographer Maurice Traubel and artist William Croome. Depicts an allegorical, patriotic scene with the figure of Columbia, attired in a toga, American flag, and laurel wreath, and with a broken shackle under her foot as she stands on a pedestal., Front free end paper contains Poulson inscription: "The "Articles" in the book are taken from fugitive sources only; and the dates affixed to each are those of the newspapers &c from which they were procured CAP." Inscription framed with cut out containing filigree and an eagle. Clipped vignette of a pointed finger also pasted on page., "Index to set in back part of vol. XI.", Artists, engravers, printers, and publishers include Calvert & McClaine, Robert Crump, M’laughlin Bros, J.B. Neagle, E. Rogers, J. Spitall, and J.W. Steel., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Poulson, Charles A. (Charles Augustus), 1789-1866, compiler
Date: 1857-1858
Location: Library Company of Philadelphia | Books & Other Texts | Rare Poulson scrapbooks - vol. 10 [(10)2526.F]

Title: J. P. Buggy, palmoral [sic] skirts. Manufacturer
Description: Proof of textile label for the Philadelphia textile manufacturer Joseph P. Buggy showing a couple ice skating. The woman wears a balmoral skirt, overcoat, hat, and gloves. The man wears pants, a coat, scarf, hat, and gloves. Buggy established his manufactory at South Twenty-Fifth and Factory streets circa 1864., Printed below image: 144 x 45., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [ca. 1864]
Location: Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.153l]

Title: J. P. Buggy, palmoral [sic] skirts. Manufacturer
Description: Proof of textile label for the Philadelphia textile manufacturer Joseph P. Buggy showing a couple ice skating. The woman wears a balmoral skirt, overcoat, hat, and gloves. The man wears pants, a coat, scarf, hat, and gloves. Buggy established his manufactory at South Twenty-Fifth and Factory streets circa 1864., Printed below image: 144 x 45., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [ca. 1864]
Location: Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.153l]

Title: [Julius Sichel trade cards]
Description: Series of illustrated trade cards depicting a toddler standing in her crib rubbing her eyes, eating from a bowl with a spoon, and playing with a bed warmer. Also shows a lady wearing an oversized coat and bonnet tied around her chin with a pink ribbon and a frog holding a flame to an exploding cannon., Title supplied by cataloger., Advertising text printed on versos promotes Sichel's millinery shop and announces his removal from 105, 107 & 109 North Eighth Street to 50, 52 and 54 North Eighth Street in Philadelphia., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department trade card - Sichel [1975.F.769; 1975.F.796; 1975.F.810; 1975.F.813; 1975.F.856]

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

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: Life in New York. "Shall I hab the honour of glanting...?"
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing tan pantaloons, a brown waistcoat, a high neck collar, and blue cravat, stands with his left foot pointed, and slightly bows. He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a pink gown with puffed sleeves and a lace collar, a wide-brimmed hat with pink and yellow ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, striped, tan trousers, a blue waistcoat, a large pink tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in brown hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1971.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [7993.F.2]

Title: Life in New York. "Shall I hab the honour of glanting...?"
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing tan pantaloons, a brown waistcoat, a high neck collar, and blue cravat, stands with his left foot pointed, and slightly bows. He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a pink gown with puffed sleeves and a lace collar, a wide-brimmed hat with pink and yellow ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, striped, tan trousers, a blue waistcoat, a large pink tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in brown hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1971.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [7993.F.2]

Title: Life in New York. The rivals
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing light blue pantaloons, a blue waistcoat, a high neck collar, and cravat, stands with his left foot pointed, and slightly bows, He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a yellow gown with puffed sleeves and a lace collar, a wide-brimmed hat with ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, white trousers, a green waistcoat, a large blue tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Charles Ingrey was a premier London lithographic printer of the 1830s., Shane White and Graham White's Stylin': African American Expressive Culture...(Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1968.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [7701.F]

Title: Life in New York. The rivals
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing light blue pantaloons, a blue waistcoat, a high neck collar, and cravat, stands with his left foot pointed, and slightly bows, He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a yellow gown with puffed sleeves and a lace collar, a wide-brimmed hat with ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, white trousers, a green waistcoat, a large blue tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Charles Ingrey was a premier London lithographic printer of the 1830s., Shane White and Graham White's Stylin': African American Expressive Culture...(Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1968.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [7701.F]

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

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

Title: Life in Philadelphia. "Behold thou art fair Deborah,..."
Description: Caricature satirizing the manners of Quakers and depicting a white Quaker couple, Deborah and Timothy, courting in front of a fireplace in a sitting room. In the right, Timothy, depicted in left profile sits stiffly in a wooden, straight back chair with his hat in his lap. He is portrayed with full lips, a pronounced nose, and large ears and with his brown hair in a cowlick at the back top of his head. He wears a brown long coat, brown pants, and tied shoes. He compliments Deborah by reciting verses from the biblical love poem Song of Solomon. In the right, Deborah, portrayed facing the viewer, and looking down, sits stiffly in a wooden, straight back chair with her hands in her lap. She is attired in a brown plain, long-sleeved dress, and a white kerchief over her shoulders. She also wears a white cap out of which sprays of her brown hair are visible on her forehead. Dorothy replies she is overcome by him and recites that his hair is like a flock of goats "from Gilead." A small dog with a curled tail sits between their feet. Also shows, in the background, wooden, straight back chairs flanking the mantelpiece of the fireplace on which two candles rest., Title from item., Date inferred from content., Plate 2 of the original series published in Philadelphia., After the work of Edward W. Clay., Probably published by Anthony Imbert of New York., Contains five lines of dialogue below the image: Behold thou art fair Deborah, thou hast doves eyes! Behold thou art fair Deborah, yea pleasant! Turn away thine eyes from me, Timothy, for they overcome me; thy hair is a flock of goats that appear from Gilead!, Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 88. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021., Accessioned 1999.
Date: [ca. 1830]
Location: Library Company of Philadelphia | PRINT. Life in Philadelphia (New York Set) [P.9701.6]

Title: Life in Philadelphia. "Behold thou art fair Deborah,..."
Description: Caricature satirizing the manners of Quakers and depicting a white Quaker couple, Deborah and Timothy, courting in front of a fireplace in a sitting room. In the right, Timothy, depicted in left profile sits stiffly in a wooden, straight back chair with his hat in his lap. He is portrayed with full lips, a pronounced nose, and large ears and with his brown hair in a bowl cut. He wears a blue long coat, blue pants, and tied shoes. He compliments Deborah by reciting verses from the biblical love poem Song of Solomon. In the right, Deborah, portrayed facing the viewer, sits stiffly in a wooden, straight back chair with her hands in her lap. She is attired in a brown plain, long-sleeved dress, and a white kerchief over her shoulders. She also wears a white cap out of which sprays of her brown hair are visible on her forehead. Dorothy replies she is overcome by him and recites that his hair is like a flock of goats "from Gilead." A pug-like dog sits between their feet. Also shows, in the background, wooden, straight back chairs flanking the mantelpiece of the fireplace on which two candles rest., Inscribed: Plate 2., Title from item., Date inferred from content and name of publisher., Date inferred from name and address of publisher and time period of her publication of the series., Contains five lines of dialogue below the image: Behold thou art fair Deborah, thou hast doves eyes. Behold thou art fair Deborah, yea pleasant! Turn away thine eyes from me, Timothy, for they overcome me; thy hair is a flock of goats that appear from Gilead!, Sarah Hart was a Jewish Philadelphia fancy goods store owner and printseller who with her son future Philadelphia publisher Abraham Hart, assumed publication of the "Life in Philadelphia" series in 1829. Sarah Hart solely reprinted the entire series of 14 prints in 1830., Nancy Reynolds Davison's E.W. Clay: American political caricaturist of the Jacksonian era (PhD. diss., The University of Michigan, 1980), p. 88. (LCP Print Room Uz, A423.O), RVCDC, Description revised 2021., Access points revised 2021., Purchase 1990.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: [1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.9288]

Title: Life in Philadelphia. "Behold thou art fair Deborah,..."
Description: Caricature satirizing the manners of Quakers and depicting a white Quaker couple, Deborah and Timothy, courting in front of a fireplace with a fire in a sitting room. In the right, Timothy, depicted in left profile sits stiffly in a wooden, straight back chair with his hat in his lap. He is portrayed with full lips, a pronounced nose, and large ears and with his brown hair in a bowl cut. He wears a blue long coat, blue pants, and tied shoes. He compliments Deborah by reciting verses from the biblical love poem Song of Solomon. In the right, Deborah, portrayed facing the viewer, sits stiffly in a wooden, straight back chair with her hands in her lap. She is attired in a brown plain, long-sleeved dress, and a white kerchief over her shoulders. She also wears a white cap out of which sprays of her brown hair are visible on her forehead. Dorothy replies she is overcome by him and recites that his hair is like a flock of goats "from Gilead." A pug-like dog sits between their feet. Also shows, in the background, wooden, straight back chairs flanking the mantelpiece of the fireplace on which objet d'arts and a mirror with an ornately decorated frame is placed. Twom framed works of art hang on the wall on each side of the mirror., Title from items., Date inferred from content and name of publisher., Inscribed: Plate 11., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 88. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1968.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7707.F]

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

Title: Life in Philadelphia. Fancy ball
Description: Social caricature showing a white man-woman couple in costume at a Philadelphia ball. The man, in the left, his head slightly turned to the right, wears a costume reminiscent of the 16th century. He is attired in red and blue striped ballooned knickers, a green brocade jacket with a red sash and cape, white ruffle collar, and a blue cap adorned with white ostrich feathers in the front. The woman, in the right and looking toward her left, is dressed in a pastorial attire. She wears a flat yellow head piece with red and blue bows on top, a white shirt with a low décolleté neckline and puff sleeves beneath a black corset, and a blue skirt with yellow trim underneath a white apron adorned with bows and a floral border. Scene also includes men and women attendees standing behind the couple., Title from print., Date from print., Inscribed: Plate 10., The symbol of a key is used in place of the name Clay., William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository" and possibly helped finance the cost of production., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: 1829
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.9693]

Title: Life in Philadelphia. "Good evening Miss..."
Description: Sexist caricature satirizing middle-class mores and depicting a white man dandy sexually harassing a well-to-do white woman as she traverses a Philadelphia street. The man stands next to her, in the right, and the woman has an aghast expression. She has a bouffant hairstyle adorned with flowers and ribbons. She wears a long hooded cape over her hourglass shape and large hair. The dandy is dressed in a corset, a top hat, coat with tails, vest, gloves, and large bow tie. He holds a walking stick toward the ground in his right hand. A handkerchief hangs out of his right coat pocket. Cityscape and two men pedestrians are seen on the street in the background., Title from item., Date from item., Inscribed: Plate 8., The symbol of a key is used in place of the name Clay., Contains five lines of dialogue above the image: “Good evening Miss, shall I have the pleasure of walking with you?” _ Me sir!! for whom do you take me, sir? __”Come, come that’s a good one!__ for whom do I take you? Why for myself to be sure!”__, William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository.", Bottom corners mended., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: 1828
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.9692]

Title: Life in Philadelphia. "Good evening Miss..."
Description: Sexist caricature satirizing middle-class mores and depicting a white man dandy sexually harassing a well-to-do white woman as she traverses a Philadelphia street. The man stands next to her, in the right, and the woman has an aghast expression. She has a bouffant hairstyle adorned with yellow flowers and ribbons. She wears a long pink cape with a blue hood over her hourglass shape and large hair. The dandy is dressed in a corset, a black top hat, blue coat with tails, pink vest, gloves, and large pink bow tie. He holds a walking stick toward the ground in his right hand. A white handkerchief hangs out of his right coat pocket. Cityscape and two men pedestrians are seen on the street in the background., Title from item., Date from item., Inscribed: Plate 8., The symbol of a key is used in place of the name Clay., Contains five lines of dialogue above the image: “Good evening Miss, shall I have the pleasure of walking with you?” _ Me sir!! for whom do you take me, sir? __”Come, come that’s a good one!__ for whom do I take you? Why for myself to be sure!”__, Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed publication of the "Life in Philadelphia" series in 1829. She, alone, reprinted the entire series of 14 prints in 1830., Reaccessioned as P.9701.2., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Clay, Edward Williams, 1799-1857, etcher
Date: [1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [P.9701.2]

Title: Life in Philadelphia. "Good evening Miss..."
Description: Sexist caricature satirizing middle-class mores and depicting a white man dandy sexually harassing a well-to-do white woman as she traverses a Philadelphia street. The man stands next to her, in the right, and the woman has an aghast expression. She has a bouffant hairstyle adorned with yellow flowers and ribbons. She wears a long red cape with a blue hood over her hourglass shape and large hair. The dandy is dressed in a corset, a black top hat, blue coat with tails, pink vest, yellow gloves, and large yellow bow tie. He holds a walking stick toward the ground in his right hand. A yellow handkerchief hangs out of his right coat pocket. Cityscape, a lamp post, and two men pedestrians are seen on the street in the background., Title from item., Date inferred from content and name of publisher., Inscribed: Plate 8., Contains five lines of dialogue above the image: “Good evening Miss, shall I have the pleasure of walking with you?” _ Me sir!! for whom do you take me, sir? __”Come, come that’s a good one!__ for whom do I take you? Why for myself to be sure!”__, Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., LCP copy has left side mended., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1968.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7706.F]

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

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

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

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

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