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Title: The Ledger carrier's annual greeting. To their subscribers, New Year, 1855
Description: Allegorical print depicting female allegorical figures in front of a temple of Justice. Depicts in the left, Peace as a white woman attired in a laurel wreath crown and a white Roman gown, standing across from the white figure of Liberty and pointing with her left hand toward the temple in the background. Liberty, wearing the American flag as a cape, and with a liberty pole and cap in hand, charges toward the temple. Three muse-like female followers, including two white women, one holding an urn, and a Black woman, looking toward the temple, stand alongside her. Behind Peace, a white cherub stands by a stack of books. Scene also includes a discarded shield and sword laying on the ground in the foreground., Title from item., Presumably issued late in 1854 by Swain, Abell & Simons, the publisher of the Philadelphia newspaper, the Public Ledger, for their subscribers., Printed below the image: Printing! the art of every art preserver. The lever that uplifts the world of mind. Of Justice, Peace, and Human Rights conserver; The sense of vision to the mental blind. The torch of genius flashes o’er its pages, Illumes Fame’s temple with its dazzling ray. And marks the means for moulding future ages, In universal education’s sway., Purchase 1984., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Sartain, a premier Philadelphia portrait and genre engraver of the 19th century, was also a social reformer who often incorporated his reformist beliefs into his work., Schussele was a historical, genre, landscape, and portrait painter and respected professor at the Pennsylvania Academy of the Fine Arts whose paintings his professional associate and friend, John Sartain, often engraved.
Creator: Sartain, John, 1808-1897, engraver
Date: [1854]
Location: Library Company of Philadelphia | Print Department *GC - Allegories - L [P.9000.1]

Title: Ein nagerin, ein nager
Description: Fraktur depicting a bare-chested black woman and man. The woman carries a jug on her head, wears a red sarong, and holds a dead rabbit by her side. The man wears a loincloth, has his arms outstretched from his side, and holds a filled glass carafe and goblet., 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., Accessioned 1971., RVCDC, Description revised 2021., Access points revised 2021.
Date: [between ca. 1810 and ca. 1850]
Location: Library Company of Philadelphia | Print Department Fraktur [7950.F.8]

Title: Forget me not
Description: Album page with an embossed border and containing a drawing of forget-me-nots. Shows a sprig of red and blue flowers, and red and blue buds, as well as green leaves. Border is composed of ornament details., Title from album page., Date inferred from complementary entries in album., RVCDC, Description revised 2022., Douglass, was an artist, prominent Quaker member of the Philadelphia African American elite community, educator, and anti-slavery activist.
Creator: Douglass, S. M. (Sarah Mapps), 1806-1882, artist
Date: [ca. 1843]
Location: Library Company of Philadelphia | Print Department Martina Dickerson album [13859.Q.83]

Title: Virginia stock
Description: Racist, allegorical, satiric print showing a line of enslaved black women and girls, shackled to each other by their wrists, and standing side by side in a tropical setting. The female figures are depicted with exaggerated facial features and short wavy hair. They wear simple pale-colored dresses that fall to their knees, are cinched at the waist, and have long sleeves. The figures look to the distance, at each other, and toward the viewer. Some stand with their feet pigeon-toed or pointed out. Some of the women wear earrings and one of the girls is portrayed with her eyes looking straight up. Coconut trees and greenery are visible in the background., Gabriel Shire Tregear (1801/2-1841) was a British colorist turned print publisher who specialized in series of comic and sporting prints, including "Tregear's Black Jokes" and "Flowers of Ugliness.", RVCDC, Description reviewed 2022., Access points revised 2022.
Date: 1836
Location: Library Company of Philadelphia | Print Department GC - Allegories - Flowers [P.2016.45.3]

Title: A mark of friendship's pleasing power
Description: Album page with embossed border and containing a drawing depicting a bunch of flowers above a four-line sentimental poem about friendship and rememberance. Flowers include a rose. Other flowers are depicted in the colors of orange, red, and violet. Image also includes a stem and leaves., Title from manuscript verse., Probably by civil rights activist and educator Ada Howell Hinton who founded a school in 1849. Hinton was daughter of Philadelphia African American elite community member, barber, perfumer, and abolitionist Frederick Augustus Hinton., Contains four lines of verse: A mark of friendship pleasing power,/In this small trifle see/And sometimes in a lonely hour,/View it and think of me., RVCDC, Description revised 2022.
Date: ca. 1840
Location: Library Company of Philadelphia | Print Department Martina Dickerson album [13859.Q.73]

Title: [Vase of flowers]
Description: Album page with embossed border and containing a drawing of a vase of flowers. Shows an arrangement of flowers including roses, camellias, pansies and forget-me-nots, in an urn-shaped vase. Border is composed of a leaf design., Title supplied by cataloguer., Date from album page., RVCDC, Description revised 2022., Douglass, was an artist, prominent Quaker member of the Philadelphia African American elite community, educator, and anti-slavery activist.
Creator: Douglass, S. M. (Sarah Mapps), 1806-1882, artist
Date: 1843
Location: Library Company of Philadelphia | Print Department Martina Dickerson album [13859.Q.78]

Title: [Assorted flowers]
Description: Album page containing a pencil drawing of an arrangement of assorted flowers of different varieties drawn when the album was in a horizontal position. Arrangment also includes leaves and flower buds., Title supplied by cataloguer., Date from item., Probably by Lydia A. Bustill., Lydia A. Bustill, was an anti-slavery activist and cousin of educator, artist, and anti-slavery activist Sarah Mapps Douglass., RVCDC, Description revised 2022., Access points revised 2022.
Date: [October, 1841]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.52]

Title: [Rose with open scroll]
Description: Album page containing an incomplete drawing of a spray of red rose and three rose buds behind a blank open scroll. The stems of the flowers are depicted with thorns. Image possibly corresponds to an 1849 entry written by African Methodist Episcopal Bishop Daniel Alexander Payne (1811-1893) about the death of his wife and daughter that began, “Just by the side of this Rose, there grew a Rose-bud perfectly formed and softly tinged with the brightest carmine ….” (verso of p.64-66)., Title supplied by cataloguer., Date estimated from span of dates of dated entries within album., Possibly by Amy Matilda Cassey., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1845]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.62]

Title: [Floral watercolor]
Description: Album page containing a drawing of a rose bud. The rose bud is depicted on a stem with a number of leaves and thorns., Probably by educator and anti-slavery activist Ada Howell Hinton, daughter of Frederick Augustus Hinton, barber, perfumer, abolitionist, and prominent member of the Philadelphia African American elite community., RVCDC, Description revised in 2022., Access points revised in 2022.
Date: [ca. 1840]
Location: Library Company of Philadelphia | Print Department Mary Anne Dickerson album [13860.Q.69]

Title: Fuchsia
Description: Album page containing a drawing of a stem of fuchsia with four flowers copied after a figure in a plate from James Andrews' Lessons in Flower Painting. A Series...(London: Charles Tilt, Fleet Street; John Menzies, Edinburgh; Thomas Wardle, Philadelphia [1836]), pl. 11. (LCP Am 1836 And, 13878.Q). The fuchsia is depicted with the blue petals, red sepals, and pink stamens of the flowers facing down. Image is also composed with the bud of a flower at the end of the stem that has multiple green leaves., Title and date from item., LCP exhibit catalogue: African American Miscellany p.45., RVCDC, Description revised 2022., Access points revised 2022., Douglass, was an artist, educator, community activist, and prominent Quaker member of the Philadelphia African American elite community. Mary Anne Dickerson was her pupil.
Creator: Douglass, S. M. (Sarah Mapps), 1806-1882, artist
Date: [July 15, 1846]
Location: Library Company of Philadelphia | Print Department Mary Anne Dickerson album [13860.Q.75]

Title: "A token of love from me, to thee"
Description: Album page containing a drawing of a black butterfly on a twig with pink flowers. Shows the butterfly with a black head, thorax, and abdomen and black wings with specks of green and red. The twig also contains several green leaves that fold up, fold down, and/or droop. The stem and branches of the twig are outlined with pink lines., Title from manuscript note., Date inferred from complementary entries in album., RVCDC, Description revised 2022., Access points revised 2022., Douglass, was an artist, prominent Quaker member of the Philadelphia African American elite community, educator, and anti-slavery activist.
Creator: Douglass, S. M. (Sarah Mapps), 1806-1882, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.2]

Title: "I love a flower!"
Description: Album page containing a drawing of a wild pink rose above eight lines of allegorical verse about the beauty of flowers. Shows the rose with a stem, five green leaves surrounding the petals, and two buds., Title from manuscript verse., Date inferred from complementary entries in album., Contains eight lines of verse: I love a flower! it ever brings/ A warmth of feeling to my heart,/ Unlike those gay and gilded things/ That flatter coldly, coldly part./ But flowers! – Oh they are eloquent/ They speak when lips would still be dumb/ When by the hand of friendship sent,/ Her price interpreters they come., RVCDC, Description revised 2022., Access points revised 2022., Douglass, was an artist, prominent Quaker member of the Philadelphia African American elite community, educator, and anti-slavery activist.
Creator: Douglass, S. M. (Sarah Mapps), 1806-1882, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.9]

Title: "Forget me not!"
Description: Album page containing a drawing of a stem of blue forget-me-nots above a poem about remembrance. Shows the stem with mutiple flowers and leaves., Title from manuscript verse., Date from item., Probably by Margaretta or Mary Forten, civil rights activists and members of the multiracial Pennsylvania Female Anti-Slavery Society. The women were the daughters of Philadelphia African American entrepreneur and abolitionist James Forten and abolitionist Charlotte Vandine Forten, Contains lines of verse: Forget me not”!—how sweet the token,/ When early hours have faded long,/ And hopes as well as hearts are broken,/ To know they still exist in song!/ Thus, may the exile fondly dream of/ Many a dear and transie[n]t ray/ And watchful memory catch a gleam/ Each colouring of a by-gone day. What tho the wave with ceaseless motion/ Protracts the union of o’er lot:—/ Our Hope’s the rock, which stems Time’s ocean,/ Our Love’s the flower, “Forget Me Not.” Excerpt adapted from poem by William G. Simms Jr., “The ‘Forget Me Not,’” in Early Lays (Charleston, South Carolina: A. E. Miller, 1827)., Manuscript of "Philadelphia" outlined with dots., Manuscript numbers for year "1834" formed with dots., RVCDC, Description revised 2022., Access points revised 2022.
Date: [1834]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.14]

Title: "Long long be thy heart with your memory fill'd..."
Description: Album page containing a drawing of a white vase of flowers on a square-shaped base and above a poem about memory and remembrance. Flowers depicted are of various kinds and include roses. They are long-stemmed, have leaves, and are in colors of pink, red, yellow, white and blue., Title from manuscript verse., Date inferred from complementary entries in album., Contains four lines of verse: Long, long be my heart with your memory fill’d!—/Like the vase in which roses have once been distill’d—/ You may break, you may ruin the vase if you will;/ But the scent of the roses will hang round it still., RVCDC, Description revised 2022., Access points revised 2022., Forten, was a civil rights activist, founding member of the multiracial Pennsylvania Female Anti-Slavery Society, and educator. She was the daughter of Philadelphia African American entrepreneur and abolitionist James Forten and abolitionist Charlotte Vandine Forten.
Creator: Forten, Margaretta, 1806-1875, artist
Date: [ca. 1834]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.16]

Title: [Vase of flowers]
Description: Album page containing a drawing of a white, urn-shaped vase of flowers. A variety of flowers are depicted including a pink rose and white lilies. Leaves also comprise the depicted floral display., Title supplied by cataloguer., Possibly by Amy Matilda Cassey., Date estimated from span of dates of dated entries within album., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1845]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.21]

Title: No marvel woman should love flowers
Description: Album page containing a drawing of coupled red and blue flowers above six lines of allegorical verse about unappreciated beauty. Shows the red camellia with fluffy stamens below three, five-petal blue flowers, possibly forget-me-nots. The flowers are also depicted with buds, leaves, and stems. The stem of the red flower contains thorns., Title from manuscript verse., Date inferred from complementary entries in album., Contains six lines of verse: No marvel woman should love flowers, they bear/ So much of fanciful similitude/ To her own history; like herself repaying/ With such sweet interest all the cherishing/ That calls their beauty or their sweetness forth;/ And like her too—dying beneath neglect. Verse from a poem by English writer Letitia Elizabeth Landon that was frequently published, including in the Ladies’ Miscellany (Salem, Mass., April 7, 1830)., RVCDC, Description revised 2022., Access points revised 2022., Douglass, was an artist, prominent Quaker member of the Philadelphia African American elite community, educator, and anti-slavery activist.
Creator: Douglass, S. M. (Sarah Mapps), 1806-1882, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764.24]

Title: Concentrated leaven or bread powders
Description: Advertisement for baking powder depicting an African American woman cook, portrayed as a racist caricature, displaying her oversized bread to a white woman. In the right, the African American woman, attired in a yellow kerchief, hoop earrings, a red dress with the sleeves rolled up, a white apron, white stockings with red stripes, and yellow shoes, holds a shovel in her left hand and points to the bread with her right hand. The gargantuan bread in the pan rests on a table covered in a white tablecloth alongside other pans of baked goods. Behind the table, the brown-haired, white woman, attired in a white dress with blue stripes with lace at the neck and sleeves, holds her hands up in shock over the over-proved bread. Underneath the table, the cook’s young daughter, attired in a short-sleeved yellow dress, sits on a rug and makes bubbles with a bowl and stick to play with a cat. Image also includes an oven and a metal basin., Not in Wainwright, Title from item., Date from content., Philadelphia on Stone, POSP 40, Originally part of a McAllister scrapbook of engravings relating to Philadelphia. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department BW - Advertisements [(7)1322.F.441b]

Title: [Print specimens depicting African Americans from the Thomas Richardson and American Bank Note Company scrapbook]
Description: Includes predominantly banknote specimens showing enslaved, free, and possibly free African American men, women, and children. Images depict an African American man driver hauling a wagon filled with hay (p. 38); an African American man farm hand tending to horse in a farmyard (p. 38); enslaved men harvesting a field of grain (p. 45); an African American man cart driver hauling bundles up an incline (p. 50); enslaved men picking cotton juxtaposed with a townscape vista (p. 54); African American men workers collecting sap from trees under the view of a white foreman on horseback (p. 61); enslaved men, women, and children cutting and loading sugar cane onto a wagon at a “Sugar Plantation” (p. 66); an African American man driver leading “The Mule Team” on a country road (p. 67); African American men workers “Breaking Hemp” (p. 68); and a proof copy of an illustration from Susan Fenimore Cooper's "Pages and Pictures from the Writings of James Fenimore Cooper" (New York, 1861) depicting a scene by a hearth from “The Spy” with an African American male servant looking over the shoulder of a white woman housekeeper (p. 26). Majority of specimens include roadside scenery or plantation or residential buildings in the background. “Sugar Plantation” view also shows a steamboat on a river in the background., Title supplied by cataloger., Date inferred from the active dates of the partnerships of the printers in the imprints and content., Artists include F. O. C. Darley and Louis Denoce., Printers include American Bank Note Co.; Baldwin, Bald & Cousland; and Bald, Cousland & Co., Some items contain specimen number printed in lower right corner. Includes 131, 144, and 212., RVCDC, Accessioned 2012., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Thomas Richardson (b. ca. 1802) was a Philadelphia plate printer who served as the foreman of printing at the Philadelphia branch of the American Bank Note Company formed in 1858. He retired from the trade by 1880.
Date: [ca. 1855-ca. 1857]
Location: Library Company of Philadelphia | Print Department *albums (flat) [P.2012.6]

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. 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 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: Leadbeater's renowned stove polish
Description: Racist advertisement for Leadbeater & Co.’s stove polish depicting a white woman and an African American woman polishing stoves. In the left, the brown-haired white woman, attired in a blue ruffled dress, white gloves, a necklace, and bracelets, stands holding a bottle of Leadbeater’s stove polish in her left hand, which she brushes onto a heating stove. In the right, an African American woman domestic, attired in a yellow head kerchief, gold hoop earrings, a red collared shirt with the sleeves rolled to her elbows, and a green skirt with black stripes, kneels as she brushes polish on the cooking stove. She turns her head to see her reflection on the stove in the left. Also visible in the image are a framed portrait, landscape, and still life, and a green sideboard with white plates and a cup. Leadbeater & Company, was a one year partnership between Philadelphia stove polish merchants, F.C. Leadbeater and D.L. Wells, at 920 Market Street., Title and date from manuscript note written on recto: Leadbeater's Renowned Stove Polish; Feb. 1861., Not in Wainwright, Philadelphia on Stone, POSP 134, Originally part of a McAllister scrapbook of engravings relating to Philadelphia. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021.
Date: [February 1861]
Location: Library Company of Philadelphia | Print Department BW - Advertisements [(7)1322.F.441a]

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. "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: Original & selected poetry &c
Description: Friendship album of Amy Matilda Cassey, a middle-class African American woman active in the antislavery movement and African American cultural community, containing contributions dating from 1833 until 1856. Contains original and transcribed poems, prose, and essays on topics including slavery, womanhood, religion, friendship, female refinement, death, and love. Also contains drawings, watercolors, and gouaches of flowers and a rustic, residential scene, possibly in New York. Contributors, including many women from the antebellum African American elite community, are prestigious reformers and abolitionists active in the anti-slavery, scholarly, educational, and cultural community of the antebellum North, including Philadelphia, New York, Boston, and Baltimore., Contains the following contributions: entry by African American abolitionist Frederick Douglass, dated Philadelphia 1850, about his "coarse" contribution in an album of "refined" entries; an original sonnet, "Fallen Bird," and essay, "The Abolition Cause," by anti-slavery activist, author, and editor, William Lloyd Garrison, dated Philadelphia 1833; floral watercolors and calligraphed poems by Philadelphia Quaker activist, educator, and artist Sarah Mapps Douglass; essay, "Moral Reform," dated Philadelphia 1834, by Harrisburg businessman and activist William Whipper; calligraphed version of Washington Irving's poem, "The Wife," by New York African American engraver Patrick Henry Reason dated New York 1839; poem about "Friendship" dated 1837 by anti-slavery activist Robert Purvis; prose on faith penned in 1853 by women right's activist and abolitionist Lucy Stone;, floral watercolors, poems and prose on friendship, womanhood, abolition, and remembrance by Philadelphia Female Anti-Slavery Society associates Rebecca Buffum, Susan C. Wright, and sisters Hannah L. Stickney and Mary T. Stickney, and sisters Mary Forten (p.10), Margaretta Forten, and Sarah Forten Purvis, as well as their sister-in-law Mary Virginia Wood Forten (p.22); memorials to his deceased wife and daughter by Baltimore African Methodist Episcopal Bishop Daniel Alexander Payne written in 1849; and an essay by abolitionist Reverend Isiah George DeGrasse dated Bridgewater 1836. Additional contributions by Baltimore anti-slavery activist Emily Willson; anti-slavery activists Ann Warren Weston and Elizabeth Le Brun (Stickney) Gunn; Philadelphia barber and activist John Chew; abolitionist James Miller M'Kim; University of Glasgow trained activist James McCune Smith; Boston reformer Wendell Phillips; C.L.R., possibly Charles L. Reason, abolitionist and brother of engraver Patrick Henry Reason; A.W.H., possibly Quaker abolitionist Anna W. Hopper, and E.G., possibly Quaker abolitionist Elizabeth Garrigues., Also includes sketches and a poem by probably Lydia A. Bustill and unattributed watercolors and sketches possibly by Amy Matilda Cassey., Title from item., Inclusive range of dates inferred from entries inscribed with dates., Embossed and gilt morocco binding with blue moiré silk doublures., Lib. Company Annual Report 1998, p. 25-35., Research file available at repository., RVCDC, Description revised 2022., Access points revised 2022., Cassey, an abolitionist, temperance and civil rights activist and founding member of the multiracial Philadelphia Female Anti-Slavery Society and the African American literary and science society, Gilbert Lyceum, was the daughter of New York black community leader, Reverend Peter Williams. She was the wife of Philadelphia businessman and civil rights activist Joseph Cassey, and later married Boston anti-slavery lecturer Charles Lenox Remond.
Creator: Cassey, Amy Matilda, 1808-1856
Date: [ca. 1833-ca. 1856]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764]

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

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

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

Title: Life in Philadelphia. "What you tink of my new poke bonnet...?"
Description: Racist caricature depicting an African American woman trying on a bonnet in the company of her African American companion, "Frederick Augustus." Depicts the woman in profile, in front of a standing mirror tilted toward her, trying on a yellow Dunstable bonnet so large that the side of her face is obscured. Her hand rests on the side of the hat adorned with a pink ribbon. Her reflection is not visible in the mirror. She wears a yellow calico dress with a white collar that covers her shoulders, black gloves, patterned stockings, and blue slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long green overcoat with collar, red-striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, watches the woman from behind a counter on which another Dunstable bonnet is displayed. Pink bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date from item., Inscribed: Plate 14., Inscribed: Copy right secured., Contains seven lines of dialogue in the vernacular and dialect above the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed the publishing of the "Life in Philadelphia" series in 1829. She, alone, reprinted the entire series of 14 prints in 1830., Described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., 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.9701.5]

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: Abolition Hall The evening before the conflagraton at the time more than 50,000 persons were glorifying in its destruction at Philadelphia May - 1838
Description: Photographic reproduction of a racist anti-abolition cartoon depicting a busy street scene with the hall being used as an interracial brothel by the second Anti-Slavery Convention of American Women on May 16, 1838. The convention, held during the week of interracial ceremonies and services celebrating the opening of the building, fulminated the racist fears of the local citizens, and on May 17th, a mob set the hall aflame, razing the building. Depicts well-dressed interracial couples, including a pair of children, strolling, kissing, and cavorting in the street and near the windows of the building. Among the couples, a Black man frolics upon a broadside referring to abolitionist David Paul Brown, a Philadelphia lawyer who spoke on May 14th, the day of dedication of the hall., Title from item., Date inferred from photographic medium and content., Illustrated in Jean Fagan Yellin and John C. Van Horne, eds. The Abolitionist sisterhood (Ithaca: Cornell University Press in cooperation with The Library Company of Philadelphia, 1994), p. 228., 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., McAllister Collection, gift, 1884., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1850]
Location: Library Company of Philadelphia | Print Department photo - unidentified - Theaters & Halls - Pennsylvania Hall [(6)1332.F.113b]

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]

Title: Life in Philadelphia. "What you tink of my new poke bonnet...?"
Description: Racist caricature depicting an African American woman trying on a bonnet in the company of her African American companion, "Frederick Augustus." Depicts the woman in profile, in front of a standing mirror tilted toward her, trying on a yellow Dunstable bonnet so large that the side of her face is obscured. Her hand rests on the side of the hat adorned with a green ribbon. Her reflection is not visible in the mirror. She wears a pink and yellow calico dress with a white collar that covers her shoulders, blue gloves, patterned stockings, and red slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long blue overcoat with collar, yellow striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, and attired in a green waistshirt, watches the woman from behind a counter on which other Dunstable bonnet and a candlestick are displayed. Bonnets, hat boxes, and packages on shelving and green and yellow bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Plate 14 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect below the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Inscribed: P.14., Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.8442]

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

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

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

Title: Life in Philadelphia. "What you tink of my new poke bonnet...?"
Description: Racist caricature depicting an African American woman trying on a bonnet in the company of her African American companion, "Frederick Augustus." Depicts the woman in profile, in front of a standing mirror tilted toward her, trying on a yellow Dunstable bonnet so large that the side of her face is obscured. Her hand rests on the side of the hat adorned with a pink ribbon. Her reflection is not visible in the mirror. She wears a pink calico dress with a white collar that covers her shoulders, white gloves, patterned stockings, and white slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long blue overcoat with collar, striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, watches the woman from behind a counter on which other Dunstable bonnet and a candlestick are displayed. Bonnets, hat boxes, and packages on shelving and pink and yellow bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., Contains seven lines of dialogue in the vernacular and dialect below the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., After the work of Edward W. Clay., Plate 14 of the original series published in Philadelphia., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9709.1]

Title: [Life in Philadelphia miniatures]
Description: Five cartes-de-visite size racist and sexist social caricatures derived from the series "Life in Philadelphia," including figures in brightly colored and ornately patterned fashion. Lines of dialogue are included below the images. Depicts a scene of a white man sexually harassing a white woman, their fashion caricatured (P.9717.1); a thwarted celebration of the election of Andrew Jackson centered on an African American man and boy portrayed in caricature (P.9717.2); a discussion of hot weather between an African American man and woman portrayed in caricature (P.9717.3); a dance ball centered on an African American man and woman portrayed in caricature ((P.9717.4); and the purchase of silk stockings by an African American woman portrayed in caricature (P.9717.5). The prints are captioned respectively: "Good Evening Miss..."; "Why for you hurrah for General Jackson?"; "How you find yourself dis hot weder Miss Chloe?"; "Shall I hab de honor to dance de next quadrille...?"; and "Have you any flesh colored silk stockings...?" The scenes also contain detailed backgrounds that include cityscape, pedestrian traffic, figures at celebration, bucolic scenery, the interior of a ballroom with white attendees, and the interior of a clothing store attended by a white man clerk speaking with a French dialect. The African American figures are portrayed with exaggerated features and stances. The white woman figure is portrayed with an exaggerated silhouette because of her fashion comprised of a bell-shaped overcoat and dress., Title supplied by cataloguer., Date inferred from content., P.9717.1 contains lines of dialogue below the image: Good evening Miss, shall I have the pleasure of walking with you._ Me Sir!! for whom do you take me, Sir?_ Come that’s a good one!-for whom do I take you? Why for myself to be sure., P.9717.2 contains lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson. Why for you hurrah for General Jackson – you black Nigger – I’ll larn you better – I’m a ministration man., P.9717.3 contains lines of dialogue in the vernacular and dialect below the image: How you find yourself dis hot weder Miss Chloe? Pretty well I tank you Mr. Cesar, only I aspire too much., P.9717.4 contains lines of dialogue in the vernacular and dialect below the image: Shall I habe de honour to dance next Quadrille wid you Miss Minta. Tank you Mr. Cato wid much pleasure only I’, engaged for de next nine Set!”, P.9717.5 contains lines of dialogue in the vernacular and dialect below the image: Have you any Flesh color’d Silk Stockings young Man? Oui Madame! Her is von pair of de first quality., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London) [P.9717.1-.5]

Title: Cornwallis is taken! The watchman's cry - Philadelphia 1781
Description: Print commemorating the surrender in 1781 of British General Cornwallis at Yorktown depicting the watchman's purported moonlit announcement of the event on October 22nd at the Philadelphia residence of Thomas McKean, the president of Congress. Near the "Geo. Washington" tavern, the white watchman, one hand raised, a lantern in the other, his mouth open and with a few teeth missing, cries the news to the crowd of men, women, and children surrounding him and McKean. McKean, wearing a silken robe, chin in hand listens. His face portrayed with a look of contemplation. The crowd, many in nightclothes hold candlesticks, pray, cheer, and listen solemnly. Included in the crowd are a white man veteran with a prosthetic wooden peg leg, an African American boy, an African American woman caregiver holding presumably McKean's baby in the doorway, a white man and woman couple facing each other and holding hands, white women in shawls and elegant robes, a seated Native American woman attired in moccasins, and a white man portrayed with a frowned expression near behind the watchman., Title from item., Date inferred from duplicate with variant imprint in the collections of the American Antiquarian Society.., Gift of Mrs. Francis P. Garvan, 1978., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Doney, Thomas, engraver
Date: [ca. 1856]
Location: Library Company of Philadelphia | Print Department **GC-American Revolution [8384.F.23]

Title: Back to back
Description: Racist caricature ridiculing attendees of an African American dance ball. Depicts an African American man woman couple with their backs together as they learn a dance step of which the man has "cocht de figure now!" In the left, the woman looks to the left, holds a fan and handkerchief to her left side, and stands on her toes. She is attired in a headpiece consisting of feathers, ribbons, and pearls, and an off-the-shoulder, ankle-length ball gown with puff sleeves and a pleated skirt, as well as patterned stockings, slipper shoes, and jewelry, including earrings, necklace, and a bracelet. In the right, the man holds his arms to his sides, and his hands open, as he stands on his toes. He wears a mustache and is attired in a coat with a wide collar and tails, a patterned vest and shirt with turned up collar, pantaloons, patterned stockings, and black slipper shoes adorned with buckles. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of artist., Due to the similar content of this caraciature to the prints in the original "Life in Philadelphia" series, Murrell classifies this lithograph as a part of the series., Contains one line of dialogue in the vernacular and dialect above the image: I reckon I’ve cotch de figure now!, Imagery similar to earlier work by artist "African Fancy Ball" in Lessons in dancing, : exemplified by sketches from real life in the city of Philadelphia (Philadelphia: Published by R.H. Hobson, Chesnut Street, 1828). Copy in the holdings of the American Antiquarian Society, Worcester, MA and Rosenbach Library and Museum, Philadelphia, PA., RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: [ca. 1829]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Philadelphia Set) [7688.F]

Title: Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..."
Description: Racist caricature of an African American couple singing and playing guitar in a parlor. In the right, "Mr Mortimer," stands with his right hand over his heart and with his other holding a sheet of music. He wears mutton chops and is attired in a brown coat with tails, a white bow tie, black pants, black stockings, black slipper shoes, and white gloves. His eyes look up and his mouth is open. He sings a love song while the woman seated in the left plays a guitar decorated with blue ribbons. Her head is turned toward the man and she sits on a bench with a blue cushion. She wears a large white bonnet adorned with red and blue bows and with ribbons tied into a bow under her chin. She is also attired in a maroon dress with long puff sleeves, black trim, and a laced bodice, black ankle-tied slipper shoes, as well as rings on her fingers. She comments that he sings "con a moor as de Italians say!!" The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring. Setting also includes a carpet with a decorative pattern., Title from item., Date supplied by article about print in Daily Chronicle, December 10, 1829, p. 2., Contains eight lines of dialogue in the vernacular and dialect above the image: Dat is bery fine, Mr. Mortimer, _ you sing quite con a moor, as de Italians say!! “Take away, take away dos rosy lips, “Rich, rich in balmy treasure!_”Turn away, turn away dose eyes o blub, “Less I die wid pleasure!!!”, Inscribed: Plate 12., Inscribed: Copy right secured., S. Hart & Son was a partnership between Sarah and Abraham Hart, Jewish owners of a Philadelphia stationery store who assumed the publishing of the "Life in Philadelphia" series in 1829. She reprinted the entire series of 14 prints in 1830., Described in Daily Chronicle, December 10, 1829, p. 2., 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.9694]

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: Life in Philadelphia. "How you like de new fashion shirt...?"
Description: Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a brown waistcoat with tails, a red vest, a blue-striped shirt, black cravat, tan pants, yellow gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a red and yellow headpiece over her hair that is in a top knot. She is attired in a yellow calf-length, cap sleeved dress with floral details, red and white trim, and décolleté neckline; white opera gloves; ankle-laced slippers; flower-detailed stockings; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand on a patch of grass. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring., Title from item., Date inferred from content., After the work of Edward W. Clay., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue: Made in America p. 29., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Imbert, Anthony, 1794 or 5-1834
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (New York Set) [P.2004.39.2]

Title: Missionary Society of the Evangelical Association of North America [certificate]
Description: Life membership certificate containing a vignette contrasting scenes of apocalyptic doom and religious salvation. Shows to the right an angel trumpeting salvation and wielding the Bible; a white man missionary preaching to a large group of Native Americans; and a converted African family of a man, woman, and child, kneels and reaches toward the winged messenger of God. On the ground are broken chains and swords, and a hut and palm trees are in the background. Opposite the scenes of salvation, a cross rises from the ground, bringing forth a river of redemption too late for the lost souls of a bejeweled "heathen" woman and a skull-headed man entangled by serpents. Behind them a temple, probably the Vatican, collapses to the ground. The Evangelical Association, a Methodist ministry, worked first to convert Native Americans and enslaved people before extending their missions to the Black inhabitants of Liberia in the 1820s., Issued to Peter H. Cage of Catasauqua, Pa. on February 24, 1870. Signed by Thomas Bowman, Secretary; Francis Hoffman, President; and Isaac Hess, Treasurer., Gift of David Doret, 2004., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Sartain, John, 1808-1897, engraver
Date: [ca. 1850]
Location: Library Company of Philadelphia | Print Department *Philadelphia certificates - Organizations - M [P.2004.46.1]

Title: Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..."
Description: Racist caricature of an African American couple singing and playing guitar in a parlor. In the right, "Mr Mortimer," stands with his right hand over his heart and with his other holding a sheet of music. He wears mutton chops and is attired in a green coat with tails, red collar, blue bow tie, yellow pants, stockings, black slipper shoes, and yellow gloves. His eyes look up and his mouth is open. He sings a love song while the woman seated in the left plays a guitar decorated with pink ribbons. Her head is turned toward the man and she sits on a bench with a pink cushion. She wears a large yellow bonnet adorned with bows and with ribbons tied into a bow under her chin. She is also attired in a blue dress with long puff sleeves, trim, and a laced bodice, ankle-tied slipper shoes, as well as rings on her fingers. She comments that he sings "con a moor as de Italians say!!" The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting also includes a carpet with a decorative pattern., Title from item., Date inferred from content and name of publisher., Contains eight lines of dialogue in the vernacular and dialect above the image: Dat is bery fine, Mr. Mortimer, _ you sing quite con a moor, as de Italians say!! “Take away, take away dos rosy lips, “Rich, rich in balmy treasure!_”Turn away, turn away dose eyes o blub, “Less I die wid pleasure!!!”, Inscribed: Plate 12., Inscribed: Copy right secured., Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed the publishing of the "Life in Philadelphia" series in 1829. She, alone, reprinted the entire series of 14 prints in 1830., First edition of print described in Daily Chronicle, December 10, 1829, p. 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.9701.4]

Title: Life in Philadelphia. "Is Miss Dinah at home?"
Description: Racist caricature depicting a well-dressed, middle-class African American dandy, his right side toward the viewer, calling upon "Miss Dinah" on the outside of her basement apartment. He wears a black top hat, bright green waistcoat, tan pants, yellow gloves, and black slipper shoes adorned with bows. He holds a walking stick perpendicular to his thigh and a fob hangs away from his coat. An African American woman servant, wearing short-cropped hair and earrings, and attired in a red, short-sleeved dress and blue apron, stands at the open cellar doors and informs the suitor that Miss Dinah "is bery pertickly engaged in washing de dishes." She holds out a silver tray to collect the dandy's calling card. The dandy states that he is sorry that he "cant have the honour to pay [his] devours to her" and slightly crouches to place his card on the tray. The figures are portrayed with oversized and exaggerated features. Scene also shows an adjacent basement cellar with open doors and views of shuttered windows on the first floor to "Dinah's" residence and those adjoining, Title from item., Date inferred from content., Inscribed: No. 5., After the work of Edward W. Clay., Probably printed and published by Anthony Imbert of New York., Contains three lines of dialogue in the vernacular and dialect below the image: "Is Miss Dinah at home?""Yes sir but she bery pertickly engaged in washing de dishes.""Ah! I'm sorry I can't have the honour to pay my devours to her. Give her my card.", Shane White and Graham White's Stylin': African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 108. (LCP Ii 4, A2880.O)., 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), Purchase 1968., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (New York Set) [7770.F.2]

Title: Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?"
Description: Racist caricature mocking the ambitions of free Blacks depicting, "Mr. Cesar," an African American dandy asking an African American belle how she finds herself in "dis hot weader?" "Miss Chloe," responds that she is doing well, but "aspires too much!" In the left, the man stands and faces the woman, in the right, and whose back is to the viewer. The man is attired in a blue waistcoat with a black collar, a white vest, pink cravat, white pants, gloves, and black slipper shoes. He holds a walking stick perpendicular to the ground in his right hand. The woman is attired in a yellow, puff-sleeved, ankle-length dress and with a pink neckerchief, wide-brimmed yellow hat with a long veil and adorned with several pink flowers and blue ribbon, gloves, and white slipper shoes. She also wears a necklace and earrings. She holds a purse and fan in her left hand and a parasol in her right hand. The man and woman stand on a grassy knoll. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content., Inscribed: P. 4., After the work of Edward W. Clay., Probably published by Anthony Imbert., Contains three lines of dialogue in the vernacular and dialect below the image: “How you find yourself dis hot weader Miss Chloe?” “Pretty well I tank you Mr. Cesar only I aspire too much!”, RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (New York Set) [7770.F.1]

Title: Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?"
Description: Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails and a black collar, white pantaloons and stockings, ruffled white shirt, yellow gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a pink, cap-sleeved gown with an apron detail, a large pink headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and earrings, declines his invitation because she is already "engaged for de nine next set." She also slightly holds up the lower right corner of her apron with her right hand. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes background imagery depicting other African American men and women ball attendees., Title from item., Date inferred from content., Inscribed: No. 6., Plate 5 of the original series published in Philadelphia., Probably published by Anthony Imbert of New York., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii4, A2880.O)., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (New York Set) [7770.F.3]

Title: Life in Philadelphia. "How you like de new fashion shirt...?"
Description: Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a green waistcoat with tails, a red vest, a blue-striped shirt, black cravat, blue pants, yellow gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a red and green headpiece over her hair that is in a top knot. She is attired in a yellow calf-length, cap sleeved dress with floral details, red trim, and décolleté neckline; white opera gloves; ankle-laced slippers; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand on a patch of dirt. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content., Plate 9 of the series., The symbol of a key is used in place of the name Clay., Name of the artist, faint lower right corner., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue: Made in America p. 29., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., 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.9701.8]

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