Search results

Title: [African American boy carrying a serving tray]
Description: Full-length portrait of a smiling African American boy, attired in a long-sleeved white shirt, black pants, black shoes, and a white apron, standing in front of a balustrade. He holds in front of him a serving tray of dishware., Photographer's imprint stamped on verso., Title supplied by cataloger., Date based on the active working dates of the photographer and attire of the subject., Purchase 2001., 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., Keenan operated his studio at 526 South Second Street from around 1855 until 1867.
Creator: Keenan, John A., photographer
Date: [ca. 1861]
Location: Library Company of Philadelphia | Print Department cdv portraits – photographer – Keenan [P.9981.3]

Title: Indian Rock Hotel
Description: Exterior, oblique view depicting the roadhouse hotel opened in 1848 by Reuben Sands north of Rex Avenue Bridge near Indian Rock in the Wissahickon Valley. Shows the two-story building with a covered veranda. Two white men stand leaning against the columns on the veranda, while another man stands on the ground. A white woman with a young girl stand behind the bannisters on the second-story veranda. An African American man, attired in an apron, stands in the left on a staircase beside the house. The hotel was sold to the Fairmount Park Commission in 1872 and Sands opened a second Indian Rock Hotel at a nearby location., Pale pink mount with rounded corners., Paper label on verso listing over sixty Fairmount Park stereoscopic views published by the firm., Retrospective conversion record: original entry, edited., Reproduced in Joseph D. Bicknell's The Wissahickon in History, Song, and Story written for the City History Society of Philadelphia and read at the meeting of October 10, 1906 (Philadelphia, 1908), p. 18., Purchase 1989., Description revised 2021., Access points revised 2021., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Newell and Son, a partnership between Robert and his son Henry, was active from around 1870 until 1897 and the death of the elder Newell.
Creator: R. Newell & Son
Date: [ca. 1872]
Location: Library Company of Philadelphia | Print Department stereos - Newell - Hotels [P.9260.69]

Title: [African American boy butler carrying a bouquet of flowers]
Description: Scrap depicting a racist caricature of an African American boy butler. Shows the full-length portrait of the boy attired in a white shirt and bowtie, a yellow waistcoat, an orange jacket with tails, white gloves, blue pants, and white and black boots. He smiles as he carries a bouquet of flowers in front of him in his right hand. He holds a black top hat and a letter in his left hand., Title supplied by cataloger., Date deduced from the visual content., Duplicate copy [P.2017.95.295]., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Scraps - Scrap 1 [P.2017.95.254]

Title: [African American boy doorman carrying a bouquet of flowers]
Description: Scrap depicting a racist caricature of an African American boy doorman or butler. Shows the full-length portrait of the boy attired in a white shirt and bowtie; long, blue coat with gold buttons and trim; white gloves; and white and black boots. He looks at the viewer and smiles as he carries a bouquet of flowers in his left hand. He holds a black top hat with a gold band and a letter in his right hand., Title supplied by cataloger., Date deduced from the visual content., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Scraps - Scrap 2 [P.2017.95.255]

Title: [Two African American women domestics baking bread]
Description: Racist, trade card specimen depicting caricatures of two African American women domestics portrayed with exaggerated features baking bread. In the left, shows an African American woman, attired in a striped head kerchief, hoop earrings, a white collared shirt with the sleeves rolled up to the elbows, and a brown skirt, standing behind a table. She mixes dough in a large bowl with her right hand and reaches her left hand to a bag of flour. In the right, another African American woman, attired in a white and gray striped shirt with the sleeves rolled up to the elbows, a white apron, and a dark green skirt, smiles at the viewer as she holds up a large loaf of bread., Title supplied by cataloger., Date deduced from the visual content., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Misc. 16 [P.2017.95.227]

Title: [African American boy butler carrying a bouquet of flowers]
Description: Scrap depicting a racist caricature of an African American boy butler. Shows the full-length portrait of the boy attired in a white shirt and bowtie, a yellow waistcoat, an orange jacket with tails, white gloves, blue pants, and white and black boots. He smiles as he carries a bouquet of flowers in front of him in his right hand. He holds a black top hat and a letter in his left hand., Title supplied by cataloger., Date deduced from the visual content., Duplicate copy [P.2017.95.254]., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Scraps - Scrap 43 [P.2017.95.295]

Title: [Diorama of a scene from the American Revolution displayed at the 27th Annual Exhibition of the Pennsylvania State Agricultural Society, held in the Main Building, Fairmount Park, Phila., 1880]
Description: Shows the diorama displayed at the annual exhibition of the Pennsylvania State Agricultural Society in 1880 showing British troops during the Revolutionary War marching in formation past a residence adorned with a banner inscribed, "Don't Tread on Me." The family stands outside of the house, and an African American woman domestic stands in the front doorway., Title supplied by cataloger., Text printed on mount: 27th Annual Exhibition of the Penna State. Agricultural Society, held in the Main Building, Fairmount Park, Phila., 1880., Publisher's imprint printed on mount., Yellow mount with rounded corners., Gift of Francis James Dallett, 1994., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: E.F. Hovey, pub., 813 Arch St
Location: Library Company of Philadelphia | Print Department stereos - Hovey - Exhibitions [P.9461.2]

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: Vickery's Aunt Sally baking powder
Description: Trade card illustration depicting a snowy scene. Two white boy, a woman, and a dog stand by a sled. They are under a large barren tree and near the steps of a house. Visible in the background are trees, a body of water and mountains. On the verso, there is a racist illustration of an African American woman holding a tray of biscuits. A speech bubble near her head reads, "Dar's no use talking, Missus' Vickery's Aunt Sally am de best fur biscuits and cakes." Vickery & Co. manufactured Aunt Sally's Baking Soda and was likely founded in Scranton, Pennsylvania in 1875. The company's founder, George H. Vickery later moved to Philadelphia after a fire destroyed his business., Title from item., Partially visible advertising text printed on verso: Presented with each box. Vickery's Aunt Sally baking poser, trade mark patented. The secret told. [...] put a laundry gloss on your shirts [...] Buy a bottle of Aunt Sally Harsh Gloss and see how it is done. You [...] with it, it puts that shiny gloss., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Vikery [P.2017.95.183]

Title: [African American domestics holding a white sheet]
Description: Racist, trade card specimen depicting caricatures of two smiling African American domestics portrayed with exaggerated features and holding a white sheet. In the left, shows an African American man, attired in hoop earrings; a blue and white striped collared shirt; a red vest; purple pants; yellow striped socks; and black shoes with buckles, holding two corners of a white sheet in his hands. A red and green feather duster lies on the ground at his feet. In the right, an African American woman, attired in a yellow head kerchief with red dots; hoop earrings; a white, beaded necklace; a white, short-sleeved shirt; a pink vest; a blue skirt; white socks; and yellow shoes with red bows, holds the opposite two corners of the sheet. A broom rests against her right shoulder., Title devised by cataloger., Date deduced from the visual content., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Misc. 5 [P.2017.95.216]

Title: Muzzy's corn starch
Description: Trade card promoting Elkhart Starch Company and depicting a racist genre scene of an African American woman domestic servant serving a white family at the dinner table. Shows in the center of the image the man and woman couple and child seated at a table. In the left, a man with brown hair and attired in a black jacket; a white collared shirt with a yellow bowtie; a yellow waistcoat; white pants with blue stripes; and black shoes, looks down and reads the newspaper he is holding. In the right, the blonde-haired woman, attired in a long-sleeved blue and white dress, rests her left hand on the table and looks towards the African American woman. The African American woman, attired in a blue striped dress, stands behind the table and carries a steaming pan of food. To the left, a blonde-haired child, attired in a white, short-sleeved shirt, reaches their hands up toward the pan of food. On the table are plates and cutlery. A.L. Muzzy built the Muzzy & Sage Mill in Elkhart, Indiana in 1870. Albert R. Beardsley (1847-1924) purchased the mill in 1878 and founded the Elkhart Starch Company. The Company was bought by the National Starch in 1893., Title from item., Place of publication inferred from place of operation of the advertised business., Date deduced from history of the advertised business., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Elkhart [P.2017.95.58]

Title: The "Gem" freezer
Description: Racist trade card illustration depicting an African American woman maid serving two bowls of freshly churned ice cream on a tray to two white children sitting at a table with a white tablecloth. The girl is attired in a yellow dress with a white and purple ruffled collar and a white ribbon in her hair. She sits with her hands folded. The boy is attired in a long sleeved purple shirt and a white bib. He holds a spoon in his right hand and reaches his left hand out toward the maid. The maid is attired in a red headwrap, gold hoop earrings, a white collared shirt with a bowtie, a blue long sleeved dress, and a white apron. On the verso of the trade card is a black and white illustration depicting a "Gem" freezer. The "Gem" freezer was manufactured by the North Brothers Manufacturing Company, which was based in Philadelphia and owned by Selden Gladwin North, Ralph H. North, and Frank H. North. The company was founded in 1878 and became a major manufacturer of various kitchen appliances., Title from item., Date inferred from dates of operation of business., Note written in manuscript on verso., Advertising text printed on verso: The "Gem" freezer. The best in practical use, because convenient, compact in size, use for smallest amount of ice and salt, run easily, freeze quickly, produce smoothly frozen creams or desserts with little bother and less work. The Pails have electric-welded wire hoops, guaranteed not to break or fall off; the cans are made of heavy tinplate with drawn steel bottoms that are guaranteed not to fall out or break and do not leak, the strongest and most durable freezer can made; the automatic twin scrapers by their positive action insure perfect scraping of frozen particles from side of can as rapidly as formed without injury to can or scrapers. All inside parts are heavily coated with pure block tin, and outside parts all thoroughly galvanized. A recipe book with complete directions for making over 100 ice creams, water ices, sherbets and other desserts packed in each freezer. W.E. Sturges, Phoenixville, PA., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - North Bros. [P.2017.95.141]

Title: The Redwood portable range, Spicers & Peckham, makers of highest grades only. Providence, R.I
Description: Racist trade card illustration depicting an interior scene with an African American woman delivering a loaf of bread to a well-dressed white woman. The African American woman is attired in a large yellow and green hat with a wide brim, a white bonnet with a green ribbon tied underneath her chin, a red shawl draped across her shoulders, a green and yellow long sleeved dress, a green apron, and brown shoes. The white woman is attired in a yellow dress lined with white and a blue ribbon attached to the back. She wears a blue hairpiece and holds a white fan in both hands. Visible in the background are a set of drawers, on top of which sits a large vase with flowers and cattail plants, and a larger partially obscured drawer in the right of the image with a large decorative plate, a vase, and an urn on top of it. A bordered image featuring a Redwood stove is superimposed over the drawer in the right. The African American woman is depicted with exaggerated features., Title from item., Several lines of partially legible advertising text printed on verso., Text printed on recto: "Don't buy you kitchen stove honey, till you have seen The Redwood.", Gift of David Doret.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Redwood [P.2017.95.146]

Title: A tale of the Rising Sun stove polish
Description: Racist trade card circular advertising Rising Sun Stove Polish. Depicts four scenes in which a white woman, identified as Mrs. Smith, buys cheap ineffective stove polish from a "crafty shopkeeper" and proceeds to purchase the more effective Rising Sun Stove Polish. In the background of the scenes in Mrs. Smith's kitchen is her African American housekeeper, Dinah. Also depicted in the scenes are Mrs. Smith's friend Mrs. Jenkins, her husband Mr. Smith, and a small white dog. Mrs. Smith and Mrs. Jenkins are attired in elaborate and colorful dresses, hats, and hair pieces. In the scene titled "The wretched household," Dinah frowns and is attired" in a yellow dress with the sleeves rolled, a white apron, yellow shoes, white socks, and a yellow headwrap. She holds a brush in her left hand. In the scene titled "The happy home," Dinah smiles and is attired in a blue and white dress with a yellow skirt visible beneath it, black flat shoes, and a red and white cap. She holds a brush in her left hand and raises it triumphantly. In both scenes, she is depicted with exaggerated features. Rising Sun Stove Polish Company was founded in Canton, Massachusetts by Elijah Morse in 1864., Title from item., Text printed on recto: The crafty shopkeeper. "It's just as good!" the shopman - he was a vile deceiver. And Mrs. Smith, unused to guile, alas, was a believer. And on the rascal's oily words and lying tongue depended, and bought the swindling compound that the shopman recommended. The wretched household. Next day wise Mrs. Jenkins called on Mrs. Smith, her neighbor, and found the house all upside down, herself distraught with labor: the fire unkindled in the stove, and Dinah vainly trying to black the stove with that vile stuff her mistress had been buying. The dinner not commenced to get, and Mr. Smith expected, each moment home - no wonder that his wife appeared djected. Wise Mrs. Jenkins gazed in tears upon the scene - said she - "For all your troubles, dear, I know a sovereign remedy.", Text printed on verso: The beautiful chromo. Wise Mrs. Jenkins and her friend a little ramble took, and at a splendid chromo in a window took a look. Said Mrs. Jenkins (verbum sap), "'twill all your cares abolish, if you will use the best of all - the Rising Sun Stove Polish." The happy home. "Home, home, sweet home," entranced we gaze upon the peaceful scene, a happy home where everything is quiet and serene. Within the polished stove the fire is burning bright, and on old Dinah's face appears a smile of a calm delight. Kind reader, heed the moral taught, and then our story's done - no stove polish is "just as good" as is the Rising Sun., Gift of David Doret.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Rising Sun [P.2017.95.149]

Title: Frank Miller's crown dressing Yes missus dat am de Crown of Dressing shua!
Description: Racist trade card depicting an African American maid shining a white woman's boots. The African American woman is depicted in profile and holds a bottle of Frank Miller's Crown Dressing in her left hand. The white woman holds up the skirt of her dress to reveal her left boot. The maid is attired in a head wrap, a dress with the sleeves rolled, an apron, and flat shoes. The white woman is attired in a ruffled, dark-colored dress, flowers in her hair, and leather boots. A bottle of Frank Miller's Crown Dressing sits atop an ornamented table. A tassel is visible above the bottle and a curtain is visible behind it. Frank Miller & Co. was a New York manufacturer of shoe polish based in Manhattan. The company was founded in the 1860s and continued operating throughout the late 19th century., Title from item., Several lines of advertising text printed on verso; text is not visible., Gift of David Doret.
Date: [ca. 1870]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Miller [P.2017.95.128]

Title: Frank Miller's crown dressing Yes missus dat am de Crown of Dressing shua!
Description: Racist trade card depicting an African American maid shining a white woman's boots. The African American woman is depicted in profile and holds a bottle of Frank Miller's Crown Dressing in her left hand. The white woman holds up the skirt of her dress to reveal her left boot. The maid is attired in a head wrap, a dress with the sleeves rolled, an apron, and flat shoes. The white woman is attired in a ruffled, dark-colored dress, flowers in her hair, and leather boots. A bottle of Frank Miller's Crown Dressing sits atop an ornamented table. A bottle of Frank Miller's Crown dressing is also printed on the verso. A tassel is visible above the bottle and a curtain is visible behind it. Frank Miller & Co. was a New York manufacturer of shoe polish based in Manhattan. The company was founded in the 1860s and continued operating throughout the late 19th century., Title from item., Printed in red ink., Advertising text printed on verso: Frank Miller's Crown Dressing in 4-oz. bottles, with wire, sponge, and cork. Gives a rich gloss, with a deep and durable color. While most dressings crack the leather, the Crown does not injure it in the least, and for ladies' and children's boots and shoes is rapidly displacing all others., Gift of David Doret.
Date: [ca. 1870]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Miller [P.2017.95.127]

Title: J. & P. Coats thread. Come in Topsey out of the rain. You’ll get wet. Oh! it won’t hurt me missy I’m like Coats black thread de color won’t come off by wettin
Description: Racist trade card promoting J.&. P. Coats thread and depicting a caricature of an African American woman domestic washing outside in the rain. Shows an African American woman in the left, attired in a white, short-sleeved shirt, a white and yellow checked apron, a red skirt, and black shoes. She stands outside in the rain and places her right hand on an oversized spool of thread labeled, “J.&P. Coats best six cord 200 yds 40,” which sits on top of a wooden stool. Behind the woman, a pipe fills a wooden wash tub with water. In the right, a blonde-haired, white woman, attired in a blue dress with a white collar and bow tie and a red sash below the waist, white stockings, and black shoes, stands at the door inside the house. She lifts her right hand to the domestic and says, “come in Topsey out of the rain. You’ll get wet.” The African American woman replies in the vernacular, “Oh! It won’t hurt me Missy. I’m like Coats black thread. De color won’t come off by wettin.” Brothers James Coats, Jr. (1803-1845) and Peter Coats (1808-1890) established the firm J.&P. Coats, a thread manufactory. Their brother Thomas Coats (1809-1883) joined the firm soon after. By 1840, three quarters of the British company’s business was with the United States. In 1896, the firm merged with thread manufacturer Clark & Co. and formed J. & P. Coats, Ltd. In 2015, the firm was renamed, “Coats Group.”, Title from item., Date deduced from the history of the advertised business., Advertising text printed on verso: Fast Black Spool Cotton. Does it wear? Does it wash? When a textile fabric must be dyed a pure, rich, deep black, the question that presents itself to the dyer is: “Will these goods be washed in ordinary soap and water, or will they be dipped in some powerful acid, like aquafortis, sulphuric, or muriatic acid?” It they must withstand every-day wear and tear; he will not be so foolish as to fix his black by aid of powerful acids, but will treat the goods mildly, and thus secure superior strength and endurance. In like manner, a druggist will not put a rubber stopper in a bottle filled with sugar and water; he will naturally use an ordinary cork, and save the rubber for resisting violent acids. It is well to look with suspicion on all Acid Tests applied to Spool Cotton. To resist acids, the dyer must use acids at peril of rotting the thread. Intelligent people do not wash their clothes in acid baths. J. & P. Coats’ Black will hold its color as long as any fabric on which it can be used., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - J. & P. Coats [P.2017.95.88]

Title: Smith Brothers chemically pure Borax
Description: Racist trade card advertising soap manufacturers the Smith Brothers and depicting the white woman head of house with three of her women housekeepers while they use Borax to complete various tasks in the kitchen. In the center, the mistress of the house, attired in a red dress with a white collar and cuffs, applies Borax onto a white cloth held by a white housekeeper. In the left, a white housekeeper sprinkles Borax over a group of cockroaches on the floor in front of the stove. In the right, the African American woman housekeeper, portrayed in racist caricature and attired in a white head kerchief with red polka dots, a yellow dress with red stripes, white stockings, and tan shoes, stands before a wash basin with her hands in the soapy water. Behind her a clothesline full of white sheets hang. Brothers Frank and Julius Smith established Smith Brothers Borax in 1874. In 1888, Frank Smith incorporated his new company, Pacific Coast Borax., Title from item., Date inferred from date of operation of advertised business., Advertising text printed on verso provides directions and various uses for Smith Brothers' Borax, including washing, starching, preventing moths, removing cockroaches, dressing ulcers, wounds, bruises, sprains, and chilblains, removing inflammation, bathing, arresting fermentation and cleaning clothes., Distributor's imprint print on verso: Githens & Rexsamer, 40 and 42 South Front Sts., Philadelphia., Gift of Emily Phillips, 1883., 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 - Smith Brothers [1975.F.751]

Title: Old '76 and young '48 From the original picture in the possession of the American Art-Union
Description: Mexican War-era genre print evoking the memory of the American Revolution depicting a young, white man Mexican War soldier returned home to his family, including his grandfather, a Revolutionary War veteran. In a parlor, the young man, attired in his uniform, sits, turned away from his meal, surrounded by his mother, father, sister, grandfather, and family dog. He raises his hand in the air as he regales his family about his experiences. They all look at him intently, except the grandfather, seated in an arm chair, and leaning on a cane, who stares a little off to the side. In the background, three servants (two African American men and an African American woman) listen from the doorway. A portrait painting of the grandfather as a young man in his military uniform hangs on the wall. In the left, a fireplace with mantle is visible. Above the mantle, a framed print reproduced after Trumbull's painting "Declaration of Independence" is displayed near lamps, a clock, and a bust of Washington on a bookcase. Also shows the soldier's cap and sword lying on the floor in the foreground., Title from item., After an 1849 painting by Robert Caton Woodville in the collections of the Walters Art Museum, Baltimore., One of six prints issued in 1851 for the members of the American Art-Union in New York., Gift of David Doret, 2006., Description revised., Access points revised., Described in the Bulletin of the American Art-Union, June 1850, p. 46., 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: Pease, Joseph Ives, 1809-1883, engraver
Date: 1851
Location: Library Company of Philadelphia | Print Department *GC - Mexican War [P.2006.28.23]

Title: The pic nic on the Fourth of July, "A day to be remembered"
Description: Copy of subscription print published in 1864 and 1866 for "Demorest's Monthly Magazine" after the painting of Lily May Spencer showing her family at a Fourth of July picnic in a grove near, possibly, the Passaic River, in Newark, N.J, the hometown of the Spencers. Shows Spencer's husband Benjamin in the center of the view, lying on his side, and with one hand on the broken rope of a tree swing. Family members surround him, seated and standing, and predominately laugh and clap, except for a boy who attempts to help him up and the artist who runs toward him with her arms out. Another child waves a flag while on her father's shoulders. In the foreground, in the right, an African American man servant with a picnic basket, pot, and ice cream churn at his feet is distracted by the husband and pours wine on an older female guest who scowls. To their left, an African American woman caretaker holds a concertina and watches the scene with African American man. Seated next to her is her young white charge, who rests on a dog. To the right, a boy, holding up a small instrument, possibly a noise maker, lays behind a log on which a young couple courts each other. They hold hands and the woman places a fan to her face. Lush greenery forms the landscape, and in the background, a path through the woods, and canoes, a sailboat, and boys playing at the river is visible., Title from item., Published and copyrighted by the New York Engraving, Printing & Publishing Company in 1864 and published by H. Peters and P. & J. Levy (N. Y.) in 1866., Gift of David Doret, 2009., Trimmed and strip of paper mounted on bottom edge., 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: Hollyer, Samuel, 1826-1919, engraver
Date: [ca. 1864]
Location: Library Company of Philadelphia | Print Department **GC - Holidays - F [P.2009.6.1]

Title: Chew house, Germantown, 1867
Description: Exterior view of the colonial residence built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. Shows an African American man, James Smith, posed near the front door of the home. He is attired in a hat, a white collared shirt, white gloves, a dark-colored jacket, pants, and shoes. A smaller building used as a kitchen or for laundry is visible in the rear (left). Smith was enslaved in Chestertown, Maryland before buying his freedom. He began work for the Chews as a coachman in 1819 and later worked as a general servant until his death in 1871. Chew House, also known as Cliveden, was the site of the turning point in the Battle of Germantown in 1777. The Chew family enslaved people of African descent in the city of Philadelphia and in Germantown during the 18th and 19th centuries. The estate was the Chew family residence until 1972 when it was acquired by the National Trust for Historic Preservation., Title and date from inscription on mount., Originally part of an album of seventy eight views by John Moran entitled "A collection of photographic views in Philadelphia & its vicinity taken in the year 1868-1869" (Philadelphia, 1870)., Retrospective conversion record: original entry, edited., Photograph pasted on verso: Stenton 1900., See website "Cliveden. Know it. Feel it. Share it." (link above)., Purchase 1870., Description revised 2021., Access points revised 2021.
Creator: Moran, John, 1831-1903, photographer
Date: 1867
Location: Library Company of Philadelphia | Print Department Moran album [1717.F.123], http://www.cliveden.org/

Title: Wootten's excelsior stove lustre or pure black lead Prepared by John Wootten, Jr. No. 94 Spruce St. Wholesale Depot, no. 13 North Third Street Phila
Description: Racist advertisement promoting Wootten’s Excelsior Stove Lustre and depicting an African American man, portrayed in caricature, polishing a stove. Shows the African American man servant, barefoot and attired in a plaid, collared shirt and pants, kneeling before a stove with a brush in his left hand. On the floor in front of him is a glass of water, an open can of polish, and a box labeled, Wootten’s Excelsior Stove Lustre or Pure Black Lead. In the right, a white woman stands wearing her brown hair in a bun and attired in an off-the-shoulder dress with a bow at the chest and lace sleeves. She looks toward the man and asks, “Uncle Tom whose blacking is that you are useing [sic].” He replies in the vernacular, “La Missey don’t you know dat -- dat is Wooten's Lustre." To the left of the woman, a black cat stands on a wooden chair with its back raised and looks at the man. Also visible in the image are plates, bowls, and cups on shelves, another wooden chair, and an open window that has a potted plant on the ledge. John Wootten Jr. (1820-1872) is listed in the 1861 Philadelphia city directory as a blacking maker., Title from item., Date from Poulson inscription on recto: Mar. 28 -59; S. 4 (old no.) Spruce Street., Not in Wainwright., Text printed on recto: For polishing and beautifying stoves, this Lustre stands unrivalled. It may with perfect justice be called The Housekeeper’s Choice; it gives a more brilliant appearance, retains it gloss longer, and requires Fifty per cent less labor than any other preparation in existence, when moistened with a little water, and applied vigorously to iron work of any kind, the effect is truly magical; housekeepers and others are well aware what great labor is requisite, and time expended in the attempt to give a fine polish with many of the lustres sold at the present day – here however both these evils are remedied; a beautiful gloss is obtained in a few minutes, and without scarcely any exertion whatever. Another advantage which this article possesses over all others, is, that it tends to preserve the iron from the deleterious effects of damp and rust, which so often render a stove entirely useless in the course of a few seasons. This Lustre is prepared with great care from the very best lead that can be found in the market, and is entirely free from all those foreign substances which so greatly destroy the efficacy of other articles.", Philadelphia on Stone, POSP 279, Accessioned 1982., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Sinclair, Thomas S., approximately 1805-1881, lithographer
Date: [March 28, 1859]
Location: Library Company of Philadelphia | Print Department *BW - Advertisements [P.8729.21]

Title: Granite floor paint. Manf'd only by Acme white lead & color works, Detroit, Mich
Description: Trade card containing two panels and depicting a contrived, racist scene of two African American women domestics talking to each other from the kitchens of the respective, separate homes in which they work. The women are portrayed with caricaturized features and speak in the vernacular. They are attired in head coverings, sheath dresses with rolled-up sleeves, aprons, stockings, and slipper shoes. The depicted kitchens contain a sink, pans stored on hooks or a shelf, and a stove. In the left panel, the woman frowns and holds a kettle in one hand and the side of her skirt in the other. She stands "like a monument" on a floor "painted tree days now" and marked with her footprints. In the background, a white man, his mouth open in a shocked expression, and attired in a suit opens the door to the kitchen. In the right panel, the woman dances with one leg raised and her hands on her hips on a floor with "hard 'nuf" Granite Paint. In the background, a smiling white man attired in a suit looks on behind an open door to the kitchen. Separating the panels is a column of red cans labeled "Granite Floor Paint." Acme White Lead and Color Works was incorporated in Detroit in December 1884, by H. Kirke White, A.E.F. White, and W.L. Davies. In March 1920, Sherwin-Williams of Cleveland purchased the company and renamed the brand Acme Quality Paints. The firm continued under that name into the 21st century., Title from item., Text printed on recto: G'way chile! Dis floor been painted tree days an now I'se stuck fas' like a monument, why dont you use de Granite Paint? Law sakes only painted las' night and dat Granite Paint am hard 'nuf dis mawnin fur a breakdown., Advertising text printed on verso: Granite Floor Paint. You have undoubtedly in your experience, had an occasion to paint a floor, steps or a piazza. If such is the case, the chances are that you realize that the same paint used for painting the exterior of houses will not answer to paint floors, yet up to the time we invented the Granite Floor Paint that was what must be used. There are three great faults with the paints heretofore used, namely: First, they require a long time to dry, which causes great inconvenience; second, they never dry perfectly hard, and consequently will not wear; third, cold water will stain, hot water blister, and soap will to a certain extent remove them. After many long and costly experiments we succeeded in perfecting the Granite Floor Paint, and present it to the public with the assurance that it has none of the above faults. It is sure to become as great a favorite as our other popular specialty, "Neal's Carriage Paint," which is prepared ready for use in eight beautiful colors, and renders the re-painting of a buggy possible at a cost of not to exceed one dollar. Acme White Lead and Color Works, Sole Manufacturers, Detroit, Michigan., Distributor’s name on verso: For sale by Thorne & Rogers, Troy, N.Y., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Acme [P.2017.95.1]

Title: Granite floor paint. Manf'd only by Acme white lead & color works, Detroit, Mich
Description: Trade card containing two panels and depicting a contrived, racist scene of two African American women domestics talking to each other from the kitchens of the respective, separate homes in which they work. The women are portrayed with caricaturized features and speak in the vernacular. They are attired in head coverings, sheath dresses with rolled-up sleeves, aprons, stockings, and slipper shoes. The depicted kitchens contain a sink, pans stored on hooks or a shelf, and a stove. In the left panel, the woman frowns and holds a kettle in one hand and the side of her skirt in the other. She stands "like a monument" on a floor "painted tree days now" and marked with her footprints. In the background, a white man, his mouth open in a shocked expression, and attired in a suit opens the door to the kitchen. In the right panel, the woman dances with one leg raised and her hands on her hips on a floor with "hard 'nuf" Granite Paint. In the background, a smiling white man attired in a suit looks on behind an open door to the kitchen. Separating the panels is a column of red cans labeled "Granite Floor Paint." Acme White Lead and Color Works was incorporated in Detroit in December 1884, by H. Kirke White, A.E.F. White, and W.L. Davies. In March 1920, Sherwin-Williams of Cleveland purchased the company and renamed the brand Acme Quality Paints. The firm continued under that name into the 21st century., Title from item., Text printed on recto: G'way chile! Dis floor been painted tree days an now I'se stuck fas' like a monument, why dont you use de Granite Paint? Law sakes only painted las' night and dat Granite Paint am hard 'nuf dis mawnin fur a breakdown., Advertising text printed on verso: Granite Floor Paint. You have undoubtedly in your experience, had an occasion to paint a floor, steps or a piazza. If such is the case, the chances are that you realize that the same paint used for painting the exterior of houses will not answer to paint floors, yet up to the time we invented the Granite Floor Paint that was what must be used. There are three great faults with the paints heretofore used, namely: First, they require a long time to dry, which causes great inconvenience; second, they never dry perfectly hard, and consequently will not wear; third, cold water will stain, hot water blister, and soap will to a certain extent remove them. After many long and costly experiments we succeeded in perfecting the Granite Floor Paint, and present it to the public with the assurance that it has none of the above faults. It is sure to become as great a favorite as our other popular specialty, "Neal's Carriage Paint," which is prepared ready for use in eight beautiful colors, and renders the re-painting of a buggy possible at a cost of not to exceed one dollar. Acme White Lead and Color Works, Sole Manufacturers, Detroit, Michigan., Distributor’s name on verso: For sale by Thorne & Rogers, Troy, N.Y., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Acme [P.2017.95.1]

Title: Excelsior metal polish, for polishing and cleaning cutlery, brass, copper, tin ware and all bright steel and metal work
Description: Trade card promoting metal polish manufacturer Walpole Emery Mills and depicting a racist caricature of an African American woman domestic polishing cookware. Shows an African American woman portrayed with exaggerated features and attired in a red and yellow striped head kerchief; a blue short-sleeved shirt; a red and yellow shawl; a red skirt; and a white apron with red polka dots, smiling and looking at the viewer. She holds a brush in her right hand and a pot in her left hand. In the left, a brown-haired white woman, attired in a yellow dress with white ruffles at the neck and sleeves and a red bow, bends over a table with a plate in her hands as she looks at the African American woman. In the foreground, two white children look at the reflection of their cat in a polished pan. A boy, attired in a blue Fauntleroy outfit, smiles with his arms apart as he looks down at the pan. A white girl, attired in a white dress decorated with orange bows at the shoulders, sits on the floor and holds the pan up with her right hand. She holds an orange cat with black stripes up to the pan with her left hand. The cat arcs its back with its fur standing up and has its mouth wide open. In the left is an oversized can labeled, "Trademark Excelsior Metal Polish Manufactured by the Walpole Emery Mills 114 Milk Street Boston." On top of the can is another orange cat with black stripes that is arching its back with its mouth open in alarm. In the background is a cupboard with plates and bowls on the shelves. In the right is a table with a large stock pot and lid and a can of metal polish with a skillet hanging from a hook at the front of the table. Walpole Emery Mills, manufacturers of Excelsior metal polish, was founded in 1877 in South Walpole, Massachusetts. The company operated into the 20th century., Title from item., Distributor’s imprint printed on verso: Holway, Wright & Miner, Manufacturers' agents, New York: 167 Chambers Street. Boston: 135 State Street., Advertising text printed on verso: Excelsior metal polish. Acknowledged the cheapest and best article known for cleaning and polishing cutlery, brass, tin ware, and all kitchen utensils, sewing machine plates, nickel plate, bath tubs, copper boilers, bicycles, needles, scissors, carpenter's tools, and all bright metal and steel work. A single trial will prove it to be a household and mechanical necessity. It is neatly put up in tin cans, containing one pound, half-pound and quarter-pound each, with directions for using. Price list. 1/4 lb. cans...10 cents each. 1/2 lb"....15"". 1 lb"...25"". For sale by grocers, druggists, hardware stove and tinware dealers. Illustration of a can of Excelsior metal polish., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Excelsior [P.2017.95.61]

Title: B.F. Gilmore, trunks and traveling bags, 237 Westminster St., Prov., R.I
Description: Racist, satiric trade card promoting B.F. Gilmore's luggage store in Providence, R.I. Depicts a genre scene of an African American woman speaking with an African American man who unknowingly squirts a white man with a hose. The figures are caricaturized and portrayed with exaggerated features. In the right, the African American woman domestic, attired in a red headkerchief and a yellow dress, stands at a waist-high green fence. She crosses her arms and carries a feather duster in her left hand as she speaks with an African American man on the other side of the fence. The man, attired in a white shirt, a blue jacket with gold buttons, and green pants, gestures with his left hand as he talks to the woman. In his right hand, he carries a hose, which he accidently sprays on a white man walking down the sidewalk. The brown-haired white man has a mustache and is attired in black shoes, green striped pants, a white collared shirt with a red tie, a green waistcoat, and a green jacket. He opens his mouth and throws both hands up in alarm as the water knocks the top hat off of his head. In the right background, trees and part of a white house are visible. Benjamin F. Gilmore (1833-1906) established a business manufacturing and selling luggage in Providence, Rhode Island. The business operated until circa 1902., Title from item., Place of publication inferred from place of operation of the advertised business., Date from copyright statement: Copyrighted 1877., Gift of David Doret.
Date: 1877
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Gilmore [P.2017.95.70]

Title: Monday. Monday is de wash day, an I neber sulk or mope, becase de close am nice and clean, by using Higgins' soap
Description: Racist trade card promoting Higgins' soap and depicting a caricature of an African American woman domestic carrying a bar of soap and a wash tub. The woman is portrayed with exaggerated features and speaks in the vernacular. Shows the African American woman with her hair in pigtail braids tied at the ends in white bows, attired in an orange and yellow striped head kerchief, a red and white shawl, a blue dress with black stripes, a white apron with red stripes, orange and white striped stockings, and black shoes. She carries a large, wooden wash tub in her right hand and a yellow bar of soap labeled “Higgin” in her left hand. The woman smiles and walks toward the viewer and says, “Monday is de wash day, an I neber sulk or mope, becase de close am nice and clean, by using Higgins' soap.” In the right, a white shirt hangs on a clothes line pinned with wooden clothespins. The Charles S. Higgins Company, established by Higgins’s father W. B. Higgins in Brooklyn in 1846, manufactured "German Laundry soap" beginning around 1860, when Charles assumed the business. The laundry soap was packaged in a wrapper illustrated with an African American woman washing in a tub. By the early 1890s, Charles S. Higgins left the firm still operated under his name and formed Higgins Soap Company. Court proceedings over trademarks and tradenames ensued and Higgins Soap Company became insolvent by the mid 1890s., Title from item., Date deduced from history of the advertised business., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Higgins' [P.2017.95.82]

Title: The First lesson An exceptional offer to the users of Knox gelatine
Description: Racist trade card promoting Knox Gelatine and depicting an African American woman domestic making a gelatin molded dessert with a white girl. Shows an African American woman domestic attired in a head kerchief, spectacles, a patterned shawl, and a white, long-sleeved shirt, sitting in a kitchen behind a table. She teaches the white girl, attired in a hair bow and a striped dress with a ruffled collar, how to decorate a molded gelatin dessert and places a berry on top it. The girl has a bowl of berries in front of her and holds a spoon with a berry on it. On the table there is a mold, a glass, a lid, a knife, a pitcher, and a box labeled, “Knox’s Gelatine.” In the background is a brick hearth with pots and an oven in the right. Charles B. Knox (1855-1908) of Johnstown, New York discovered a method of granulating gelatine in 1889, which made it practical and easy to use. Charles died in 1908, and his wife Rose Knox ran the company for the next forty years. The Company continues to operate into the 21st century., Title from item., Place of publication from place of operation of advertised business., Publication information and date from the copyright statment: Copyright 1905 By Chas. B. Knox., Advertising text on verso: We have had reproduced in its original colors Harry Roseland’s famous painting, “The First Lesson.” The other side of this card gives only a faint idea of what the picture really is. The large reproduction has twelve (12) distinct colors in it, is reproduced on heavy plate paper having all the appearance of canvas, and it would take an expert to tell it from the original. The original hangs in Mr. Knox’s home, and there are no reproductions of it except those referred to on this card, and if these were on sale in the art stores they would cost at the very least $5 each. The size of the picture is 20 x 27, and it is ready for framing. We want the users of Knox Gelatin to have a copy of this painting and we will send you one upon receipt of ONE empty Knox Gelatine box and 10c in coin or stamps to cover cost of packing and mailing. The supply of these pictures is limited, so if you want one you must act quickly. After receiving the picture, if you are not entirely satisfied with it, return it, and your 10c will be refunded by next mail. Address, Art Department, Knox Gelatine, Johnstown, N.Y., U.S.A. Knox Gelatine is the best Gelatine in the world. It is made from absolutely pure stock; is granulated and can be measured with a spoon like sugar; dissolves in two minutes and mold in half an hour. Each package makes a half gallon of jelly; is clear and sparkling and needs no clarifying. Pink coloring for fancy desserts in every package. It is guaranteed to comply with the National Pure Food Law, and it is always sold under the broad guarantee of “Your Money Back If For Any Reason You Are Dissatisfied.”, Gift of David Doret.
Date: 1905
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Knox [P.2017.95.100]

Title: Muzzy's sun gloss starch. Elkhart Starch Co
Description: Racist trade card promoting Elkhart Starch Company and depicting a domestic, genre scene of a white family and an African American woman domestic on wash day. The woman is portrayed as a caricaturized figure. Shows in the right, the women domestic, attired in a red and yellow head kerchief; gold earrings; and a blue and white dress with gold buttons and the sleeves rolled up to her elbows, standing behind a wooden table with an iron on it. She holds up a stiffly starched and unwrinkled white collared shirt in front of the well-dressed mother and her three children. The reflection of the mother is seen on the shirt. In front of the mother, her brown-haired older son , attired in a white collared shirt and a yellow jacket, points his finger at the shirt. To his right, his younger, brown-haired sister, attired in a yellow dress with white ruffles at the neck and sleeves, reaches both arms toward the shirt. Beside her, a cat sits up at the table and looks at the shirt. Between her and her brother, the older blond- haired sister, attired in a blue dress with white ruffles at the neck and sleeves, a yellow bowtie, and a red sash tied around her waist, hands a box labeled "sun gloss starch" to her mother. In the left, the young mother with long brown hair and attired in earrings; a necklace with a red pendant; and a red dress with white ruffles down the middle and at the sleeves; reaches her right hand out to the box of starch. She cluthches an ornate fan to her chest in her left hand. In the far left, through a doorway, the young father attired in a black jacket with tails; a white collared shirt; and white pants with blue stripes, holds a top hat, stands in a hallway, and looks into the room. A.L. Muzzy built the Muzzy & Sage Mill in Elkhart, Indiana in 1870. Albert R. Beardsley (1847-1924) purchased the mill in 1878 and founded the Elkhart Starch Company. The Company was bought by the National Starch in 1893., Title from item., Advertising text printed on verso: "Elkhart Starch Co. Elkhart, Ind. Manufacture Muzzy's Sun Gloss refined & corn starch. Of superior quality, by a new process. A thorough test makes it a household necessity. Muzzys corn starch is the purest & best made. Capacity ten tons of starch per day." Includes an illustration of a train running past the Elkhart starch works manufactory., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Elkhart [P.2017.95.56]

Title: Enoch Morgan's Sons Sapolio
Description: Racist trade card promoting soap manufacturer Enoch Morgan's Sons Company and depicting African American women domestics cleaning a parlor. Shows an African American woman, attired in a head kerchief; hoop earrings; a polka dotted dress with the sleeves rolled up to her upper arms; and black shoes, on her hands and knees cleaning a floor with a brush in her right hand. There is a wooden bucket beside the woman. In the right, another African American woman, attired in a short-sleeved dress with a bustle and checked skirt, stands cleaning the molding of a doorway with a cloth. In the background is a lit fireplace and mantle with vases on top of it. Enoch Morgan's Sons Company began manufacturing Sapolio soap in 1869 in New York. Peruvian company Intradevco Industrial SA purchased Sapolio in 1997., Title from item., Date deduced from history of the advertised business., Distributor's imprint stamped on recto: Tom S. Culver, Dealer in surplus [?] teas, coffees, [?] and flour. Canned, dried, and [?] vegetables, etc. Choice brands of [?] tobacco. A fine [?] Ithaca, N.Y., Advertising text printed on verso: There is no one article known that will do so many kinds of work in and about the house and do it so well as Enoch Morgan's Sons Sapolio. (Each cake is wrapped in tin foil, and surrounded with Ultramarine Blue Band, and bears the above device.) Always note this. A cake of Sapolio, a bowl of water and a brush, cloth or sponge will make House Cleaning an easy and quick job--Will clean paint and all painted surfaces-- Will clean marble, mantels, tables and statuary-- Will clean oil-cloths, floors, shelves, &c. -- Will clean bath tubs, wash-basins, &c. -- Will clean crockery, glassware, &c. -- Will clean kitchen utensils, of all kinds--Will clean windows without splashing of water -- Will polish tin, brass, and copperwares-- Will polish knives as you wash them-- Will polish all metal surfaces and Will clean all household articles -- and is better and cheaper than soap, emery, rotten stone, &c. Price 10 c. per cake. Illustration of a white man looking at the bottom of a pan that reflects his face as a mirror., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Enoch [P.2017.95.59]

Title: Smith brothers chemically pure Borax
Description: Racist trade card depicting a well-dressed white woman, two white housekeepers, and one African American housekeeper using Smith Brothers Chemically Pure Borax to complete various household tasks while standing in a kitchen. The white woman in the left of the image sprinkles Borax on to a group of cockroaches on the floor. At the center of the image, one white woman holds a white cloth with ruffles while another white woman applies Borax onto it. The African American woman stands in the right background of the image and looks at the two women. Her left hand is submerged in a tub of water. A stove with pots and pans, a table with an iron, and a clothes line are visible in the background. The African American woman is portrayed with exaggerated features. Githens & Rexsamer was a Philadelphia-based exporter and importer of groceries and canned goods., Title from item., Advertising text printed on verso: Directions. Washing. - Dissolve one heaping tablespoonful of Borax in hot water for every tubful of clothes; soap all of the most soiled places and rub on the board through one water; after rubbing throw the pieces intoa tub containing boiling water and Borax; let them remain there while the second tub of clothes is being washed; rinse in one plain water; do not boil the clothes. Starching. - One teaspoonful Borax to one pint boiling starch, adds greatly to the gloss, afact not generally known. To Prevent Mtohs [sic.] - Sprinkle floor with the powder before laying down the carpets, and put it with the clothes when packed away. Removing Cockroaches. - Sprinkle floor, leaving places open for escape, or to kill them, add one part Borax to two parts powdered sugar. Rough face or chapped hands. - One tablespoonful Pulverized Borax to one quart hot water, apply night and morning with a sponge or cloth. Dressing Ulcers, Wounds, Bruises, Sprains, Chilblains and Removing Inflamation. - One tablespoonful Pulverized Borax to one pint hot water, saturate a piece of lint with same, hanging it up to dry, then use for a dressing. For Bathing. - Always add Pulverized Borax to the Bath, it softens the water. Especially use it for infants and children. Arresting Fermentatoin. [sic.] -One-half thimbleful Pulverized Borax to one quart cream or milk, will preserve them perfectly sweet. Cleaning Clothes. - One tablespoonful to one pint of hot water, when cold, use instead of Ammonia or Benzine., Distributor's imprint printed on verso: For sale by Githens & Rexsamer, 40 & 42 South Front Street, and 39 Letitia Street., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Smith [P.2017.95.161]

Title: Tuesday. Yes my heart is light, for de close iron white, and dat is jist what tickles me, for without Higgins' soap, you have'nt any hope, so please to take pattern by me
Description: Racist trade card promoting Higgins’ soap and depicting a caricature of an African American woman domestic ironing a white sheet. The woman is portrayed with exaggerated features and speaks in the vernacular. Shows the African American woman with her hair in pigtail braids tied at the ends in white bows, attired in an orange and yellow striped head kerchief, a red and white shawl, a blue dress with black stripes, a white apron with red stripes, orange and white striped stockings, and black shoes. She stands behind an ironing board and holds a white sheet in her left hand and an iron in her right hand. The ironing board sits on top of a wooden stool and a red and yellow box labeled “Higgins’ German Laundry Soap.” The woman smiles at the viewer and says, “Yes my heart is light, for de close iron white, and dat is jist what tickles me, for without Higgins' soap, you have'nt any hope, so please to take pattern by me.” In the background is a white sheet hanging over a wooden board. The Charles S. Higgins Company, established by Higgins’s father W. B. Higgins in Brooklyn in 1846, manufactured "German Laundry soap" beginning around 1860, when Charles assumed the business. The laundry soap was packaged in a wrapper illustrated with an African American woman washing in a tub. By the early 1890s, Charles S. Higgins left the firm still operated under his name and formed Higgins Soap Company. Court proceedings over trademarks and tradenames ensued and Higgins Soap Company became insolvent by the mid 1890s., Title from item., Date deduced from history of the advertised business., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Higgins' [P.2017.95.83]

Title: Friday. Use Higgins' soap in de mornin, a washin of de winder, for wif good soap and a merry heart, dar's nothin for to hinder
Description: Racist trade card promoting Higgins' soap and depicting a caricature of an African American woman domestic washing a window. The woman is portrayed with exaggerated features and speaks in the vernacular. Shows the African American woman with her hair in pigtail braids tied at the ends in white bows, attired in an orange and yellow striped head kerchief; a red and white shawl; a blue, short-sleeved shirt with black stripes; an orange and yellow checked skirt; yellow, red, and white striped stockings; and black shoes. The woman sits on the window ledge with her legs crossed at the ankles. Her upper body is outside of the house as she washes the exterior of the window with a white cloth. The woman smiles at the viewer and says, “Use Higgins' soap in de mornin, a washin of de winder, for wif good soap and a merry heart, dar's nothin for to hinder.” In the right is a wooden bucket with a bar of soap labeled, “Higgins Soap,” on top of a wooden stool. The Charles S. Higgins Company, established by Higgins’s father W. B. Higgins in Brooklyn in 1846, manufactured "German Laundry soap" beginning around 1860, when Charles assumed the business. The laundry soap was packaged in a wrapper illustrated with an African American woman washing in a tub. By the early 1890s, Charles S. Higgins left the firm still operated under his name and formed Higgins Soap Company. Court proceedings over trademarks and tradenames ensued and Higgins Soap Company became insolvent by the mid 1890s., Title from item., Date deduced from history of the advertised business., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Higgins' [P.2017.95.84]

Title: [Plates from "Sketches supposed to have been intended for Fanny Kemble's journal"]
Description: Series of eight prints satirizing journal entries published in 1835 that were written 1832-1833 by the British-born actress during her American tour. Includes citations to the lampooned "Journal" entries from the two-volume Philadelphia edition published by Carey, Lea & Blanchard in 1835. Plates 1 and 2 depict scenes from her sea voyage. The first shows her "embroidering one of [her] old nightcaps" in "sea sickness" surrounded by a "Bible Cover," Dante's "Opera," a journal page, and a basin as she is a "Dear Good Little Me" and an "Angel." The second shows Kemble being served dinner by a caricatured African American servant as she is "lying on [her] back" surrounded by "[her] dinner followed [her] thither" above quotes comparing her appetite to "Danaides' tale of credilable [sic] memory" and her being as fat as an "overstuffed pin cushion." The African American figure is portrayed with exagerrated features.[Plate 3?] satirizes a poem "To bed - to sleep - To sleep -perchance to be bitten!" she wrote about the onslaught of insects at night in her New York hotel room. Shows Kemble aghast as she raises her blanket inscribed with the names of New York newspapers in her attempt to get into a bed swarmed by bed bugs, ants, and mosquitoes. [Plate 4?] caricaturizes her actor father, Charles Kemble, as a stumbling drunk "who a little elated made me sing to him" while muttering "To be or not to be that is the q-q-qu-question" in a parlor near his consternate daughter beside a piano above her quote about his "gallant, graceful, courteous, deportment.", [Plate 5?] shows a small-framed "interesting youth" delivering "a nosegay as big as himself" to Ms. Kemble who reflects "How they do rejoice my spirit." [Plate 6?] depicts the death scene from a December 1832 performance of Romeo & Juliet when the prop dagger was misplaced and Kemble improvised 'Why were the devil is your dagger.." as she rummages the body of the prostrate Romeo in front of the Capulet mausoleum. [Plate] 7 " A Funny Idea of My Father's" shows another caricature of Charles Kemble as a drunk satirizing her entry about a playful moment during a walk past kegs on Market Street in Philadelphia when her father joked 'How I do wish I had a gimlet. What fun it would be to pierce every one..." An illusion of a gimlet floats in front of her father as she cowers behind him beside the kegs. [Plate] 8 mocks the horsemanship of Kemble who criticized Americans' abilities and wrote of an impromptu jaunt on a cart horse in Lockport, NY Niagara where she 'got upon the amazed quadruped and took a gallop..' Shows she and her mount in a barnyard being chased by a dog and trampling ducks as she exclaims "Go it, old fellow" in front of her "father and good old D." in the background., Title supplied by cataloger., Published as Sketches supposed to have been intended for Fanny Kemble's journal (New York: Endicott, 1835). [LCP *Am 1835 7196.F]., Four of the eight prints contain plate numbers: 1, 2, 7, and 8., [Plate 5?] inscribed: G.H.B. [P.2006.17.3], Gift of Michael Zinman, 2006., 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., Access points revised 2021., Description revised 2021.
Date: [ca. 1835]
Location: Library Company of Philadelphia | Print Department GC - Kemble [P.2006.17.1-8]

Title: The last days of Webster at Marshfield To the family and friends of the late Daniel Webster, this plate, representing a scene from his last days at Marshfield, is most respectfully dedicated by the publishers
Description: Engraving after a painting by Joseph Ames showing family, relatives, and friends gathered around the dying Daniel Webster, who sits in bed propped up against a pillow. Webster, a Whig senator from Massachusetts, died at his home in Marshfield in 1852 after falling from his horse. His attendees, gather around the foot of his bed, including his wife Caroline LeRoy Webster, attired in a white lace veil, who cries with her head in her hand. In the right, a seated, Mrs. Caroline Fletcher Webster gazes at Webster while her son leans against her and a young, white girl rests on a stool at her feet. Behind her is Sarah, an African American servant, holding a silver tray with a pitcher and cup. Attendees include: Charles Henry Thomas, Jacob LeRoy, Edward Curtis, Caroline LeRoy Webster (wife), Mrs. James W. Paige, Samuel A. Appleton, James W. Paige, George Ashmun, Rufus Choate, Peter Harvey, Daniel Fletcher Webster (son) and his wife Caroline S. White, Caroline L. Appleton, Daniel Webster, Ashburton Webster, Caroline Webster (granddaughter), Dr. J. Mason Warren, Dr. John Jeffries, Sarah (African American servant), John Taylor (farmer), and Porter Wright (farmer). A bust of George Washington sits on a shelf on the wall in the right. In the lower margin is a small vignette of the estate at Marshfield., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1858 by Smith & Parmalee in the Clerk’s Office of the District Court for the Southern District of New York., See A Description of the great historical painting of The last days of Webster at Marshfield. Painted by Joseph Ames, of Boston. New York : Smith Brothers and Parmelee, 1855. [Am 1855 Smi Bro, 73625.O], LCP also holds one trial proof, two proof without letters, two engraved artists proofs without letters, and five additional copies of print. [***GC - Webster, P.2012.69.1-10], Gift of David Doret, 2011., Description revised 2021., Access points revised 2021.
Creator: Mottram, Charles, 1817-1876, engraver
Date: 1858
Location: Library Company of Philadelphia | Print Department ***GC - Webster [P.2011.63.26]

Title: [Scraps no. 3 for 1832]
Description: Plate three from the 1832 edition of, "Scraps" Johnston's popular satirical series of societal caricatures published between 1828 and 1840, and in 1849. Depicts a montage of nine scenes lampooning contemporary social issues and everyday life such as fashion, gender relationships, bed bugs, the theater, modesty, materialism, parental relationships, and drunkenness. Includes "A Rain Bow" depicting a white man dandy offering to assist a white woman with her parasol under the judging eye of a fellow unwilling to "wear out" his umbrella in the rain; "Great Cry and Little Wool" depicting white chambermaids mocking the fearfulness of a white man being attacked by gigantic, near sated bed bugs and a mosquito; "Pressure of the Times" depicting a crowd of white men fighting with each other for "Boston Theater" box tickets; "Ne Plus Ultra of Delicacy" depicting white men discussing "decently clothed tables and chairs" while tending to an unconscious white woman driven to faint after viewing a sculpture of barely-clad "Chanting Cherubs"; "Sport of His Satanic Majesty" depicting Satan and his minion fishing for white drunkards to be eaten and used as firewood; "Mother's Hope and Father's Joy" depicting a little, white "gentleman" being bid upon by his mother and a little girl; "The Test of Friendship" depicting a white man drunkard showing true friendship by lying in the gutter with his equally inebriated white man friend; "Steamboat Scene" depicting white individuals and a family reacting to a "man overboard" with gawking looks, a cry for a rope, a criticism of drunkenness, anger at his non-removal of expensive shoes, and a desire to exchange places to forgo seasickness; "Going Off Half Cocked" depicting and an intoxicated white man stuttering "good evening" in front of his snickering African American maid, portrayed in racist caricature., Title supplied by cataloger., Printed in upper left corner: Plate 3., Published in D.C. Johnston's Scraps No. 3 1832 (Boston: D.C. Johnston, 1832), pl. 3., Retrospective conversion record: original entry, edited., Accessioned 1979., 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: Johnston, David Claypoole, 1799-1865
Date: 1832
Location: Library Company of Philadelphia | Print Department political cartoons - 1832-Scr (c) [P.2275.27]

Title: [Group portrait including photographer W.L. Germon on the porch of the hotel Long Beach House]
Description: Group portrait of over thirty men, women, and children posed sitting and standing on the veranda and the ground in front of the Long Beach House. Group includes an African American man and a African American woman servant. Germon, a Philadelphia photographer and engraver, stands second from right attired in a hat and collared shirt with white trim. The resort hotel was located opposite Tuckerton, N.J., Title supplied by cataloger., Date from manuscript written on mount, Aug. 14th, 1868., Purchase 1985., Description revised 2021., Access points revised 2021.
Creator: Germon, W. L. (Washington Lafayette), 1822-1877, photographer
Date: August 14, 1868
Location: Library Company of Philadelphia | Print Department *photo - Germon [P.9101.2]

Title: Death of Washington. Dec. 14. A.D. 1799
Description: Deathbed scene depicting Washington lying peacefully on a four poster bed, the curtains drawn, his head propped up on pillows, surrounded by his wife, grandchildren, a Quaker friend, the family physician (Dr. Craik), and a man and woman African American domestic. In the bedroom, dimly lit by candlelight from a nearby table, a somber Martha Washington, her grandson and granddaughter by her side, sits by Washington's bedside and holds his hand. On the opposite side of the bed, the physician checks for the President's pulse. The saddened Quaker and servants watch from the foot of the bed; the woman domestic kneels and cries. In the upper left corner above Washington's head, a hat and sword hang on the wall. A key to the eight figures is listed below the image., Probably after an undated version of one of eight variant lithographs titled, "Death of Washington. Dec. 14. A.D. 1799," published by Nathaniel Currier beginning around 1840., See Currier & Ives: A Catalogue raisonne (Detroit: Gale Research, 1984), vol. 1, p. 172-173., Gift of Mrs. Francis P. Garvan, 1979., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [ca. 1850]
Location: Library Company of Philadelphia | Print Department *GC - Washington - Death [P.8474.30]

Title: Outing of Philadelphia politicians at Ed Vare's Fort Pierce, Fla. place
Description: Group portrait of the politicians, including state senator James McNichol, Pennsylvania Judge Thomas Knight Finletter, and state senator Edwin Vare, posed outside with members of the estate's staff, including African American men. A row of nine white men stand behind a seated a row of men, including two African American men attired in white collared shirts, black bow ties, white jackets, and dark-colored pants, and three men, attired in chef’s uniforms and aprons, consisting of one white man and two African American men. The group is in a fenced in area with palm trees in the background., Title from manuscript note on verso., Photographer's blindstamp on mount., Inscribed in negative: 2281., Purchase 1993., 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: Florida Photographic Concern, photographer
Date: [ca. 1910]
Location: Library Company of Philadelphia | Print Department group portrait photographs - men [P.9410.30]

Title: Marriage of Tom Thumb
Description: Series of six cartes-de-visite size engravings of portraits and scenes from the February 10, 1863 New York City marriage of P.T. Barnum's Little People entertainers Charles Stratton, known as Tom Thumb, and Lavinia Warren. Includes: the ceremony; the couple; the attendants, fellow Little People entertainers Commodore Nutt, and Lavinia's sister, Minnie Warren; the "Reception"; the following morning "At Home" with the seated couple attended by an African American man servant, attired in a white collared shirt, a black bowtie, a gray waistcoat, and a black suit jacket and pants, who carries a tray; and a "Promenade" down Broadway. The wedding, paid for and heavily promoted by Barnum, attracted the social and political elite of New York., Title from series title., Date inferred from content., Series numbers and captions handwritten on verso., Manuscript note on recto of five of the series: Mr. & Mrs. Stratton., Possibly after Mathew B. Brady., Originally part of a McAllister scrapbook of portraits. McAllister Collection, gift, 1886., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [ca. 1863]
Location: Library Company of Philadelphia | Print Department cdv portraits - sitter - Thumb [5750.F.59a-e;(2)5750.F.169f]

Title: Try King's quick rising buckwheat. It is the best. The cook likes it
Description: Racist trade card promoting King Cereal Manufacturing Company and depicting a caricature of an African American woman domestic serving pancakes to a white couple while an African American man cook smiles in the kitchen. Shows the African American woman domestic, attired in a red dress, a white apron, and a white bonnet, holding her apron up in her hands while looking at the viewer and winking her eye. In the right, a brown-haired, white man with a mustache attired in a black suit, a white collared shirt, and black shoes and a white woman with brown hair in a bun and attired in a blue dress, sit in wooden chairs at a table covered with a white tablecloth. The white woman looks at the viewer as she wipes her mouth with a white napkin. On the table is a plate of pancakes, a coffee pot, glasses, and a condiment tray with various bottles. Through a doorway in the left background, the African American man cook, attired in a white chef’s hat and jacket, a white apron, pants, and black shoes, smiles as he stands behind a table with a box of King’s Quick Rising Buckwheat. In the right on the wall are two framed pictures and a large window with white curtains. Image also includes a red rug and a wooden chair with a green cushion. Edward King (d. 1907) founded King Cereal Manufacturing Company in 1861 in Chicago. He sold his interest in the firm to H. Horner & Co., wholesale grocers in 1903. The firm continued operations into the 1920s., Title from item., Place of publication inferred from place of operation of the advertised business., Date deduced from history of the advertised business., Advertising text printed on verso: We manufacture and sell all the package goods name[?] King’s Quick Ris[ing] Flour, King’s Quick Rising W[heat] For Biscuit, &c. Mrs. Hopper’s Pan[cake] a splendid substitu[te] [spe]cially adapted King’s R[ising] [?]ne Breakfast “Cut Oat Meal. “White Hominy. “Corn Grits or Samp. “Farina. (From the Best Wheat.) “Golden Corn Meal. “Silver Corn Meal. “Flaked Hominy. The best preparation of Corn ever placed on the market. Makes a delicious breakfast dish or after dinner dessert., Gift of David Doret.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - King [P.2017.95.98]

Title: [Scraps no. 3. for 1832]
Description: Plate four from the 1832 edition of "Scraps," Johnston's popular satirical series of societal caricatures published between 1828 and 1840, and in 1849. Depicts a montage of nine scenes lampooning contemporary social issues and everyday life such as fashion, religious hypocrisy, ignorance, vanity, country life, class inequities, the military, and higher education. Includes 'The Glass of Fashion & The Mould of Form' depicting a white man sales clerk falsely flattering a white man dandy trying on a puff-sleeved coat; "Faith and Works" depicting a hypocritical white man Deacon, near a fireplace, reneging the shelter that he promised to a cold, poor white woman outside his door while his African American servant offers her money; "Arrival of a Country Cousin" depicting a snobby, white, city gentleman snubbing his country cousin; "About to be Astonished" depicting a dimwitted gloating white man farmer about to intentionally kill a sleeping "varmint" and unintentionally kill his friend with a sickle; "Champagne [Campaign] or the Fatigues of Modern Camp Duty" depicting a grossly intoxicated troop of white military officers toasting their intellect and patriotism; "A Body Coat & A Coat of Arms" depicting a rotund and thin "John Smith" exchanging wrongly delivered coats; "The Able-Bodied Man & The Exempt" depicting a scraggly white soldier encountering an "exempt" hardy white gentleman; "Symptoms of Extravagance" depicting a white man, attired in rags, debating the necessity to "dress better on Sunday"; "College Acquirements" depicting an African American man and woman, portrayed in racist caricature and speaking in the vernacular, discussing 'de college for de colour'd circles' based on the beneficial effects of college on "Massa Bob," including his staying out later, no longer reading, and drinking champagne., Title supplied by cataloger., Printed in upper left corner: Plate 4., Published in D.C. Johnston's Scraps No. 3 1832 (Boston: D.C. Johnston, 1832), pl. 4., Retrospective conversion record: original entry, edited., Accessioned 1893., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Johnston, David Claypoole, 1799-1865
Date: [1832]
Location: Library Company of Philadelphia | Print Department political cartoons - 1832-Scr (d) [5656.F.24]

Title: [Entry of Washington into New York, after the city was evacuated by the British in 1783, Nov. 20th]
Description: Print after the painting displayed at the National Academy of Design in New York by native Philadelphian and prolific 19th-century book illustrator, Felix Octavius Carr Daley. Depicts the historic scene at the close of the American Revolution showing General Washington, his hand on his hip and his face turned to the left, on horseback and triumphantly parading his troops through a crowded New York City street on November 25, 1783. Exuberant spectators, some running and some held back by uniformed guards, line both sides of the thoroughfare and cheer from balconies, roofs, and windows. Spectators include many parents with children. In the left foreground, an African American man servant or waiter, attired in hoop earrings, a white collared shirt, a bow tie, a jacket, breeches with white stockings, and buckled shoes, carries a serving tray under his arm and stands and peers into the street to watch Washington. Three dogs run in the foreground., Title from: Illustrated by Darley: an exhibition of original drawings..., May 4- June 18, 1978 (Delaware Art Museum. Wilmington: The Museum, 1978). (LCP Print Room Yb A2696.O)., Alternate title from 1863 artist's proof at the Museum of the City of New York., Manuscript signature of engraver in lower right corner., Gift of Dr. Anthony N.B. Garvan, 1981., 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., Ritchie, a New York painter and prolific engraver of portraits and genre scenes, produced at least three engravings after the works of F.O.C. Darley.
Creator: Ritchie, Alexander Hay, 1822-1895, engraver
Date: c1858
Location: Library Company of Philadelphia | Print Department **GC - American Revolution [P.8646.3]

Title: A case of infectious fever (from "84 South Street, 4 doors from Callowhill Street," Philadelphia) before the New York Board of Health
Description: Cartoon criticizing the New York Board of Health's handling of the 1820 yellow fever epidemic based upon August 1820 newspaper accounts about "John C. Williams," a drunk man falsely claiming to be from Philadelphia who was misdiagnosed with the fever. Depicts several doctors and officials from the Board, with handkerchiefs over their mouths, surrounding and discussing the condition of the bed-ridden Williams who is vomiting into a bucket and exclaiming, "drunk, drunk, oh lord." Despite the protestation of the African American housekeeper who holds a tankard and states that he is drunk from "de toast and toddy," the various doctors, including prominent physicians Felix Pascalis, Samuel Latham Mitchill, and President of the Board, David Hosack, discuss his symptoms of "black vomit," "delerium," "a red nose," and "difficulty of speech," as evidence of "yellow fever." Others including New York Post editor William Coleman and Marine Hospital attending physician Joseph Bayley discuss treatments and his being sent to quarantine., Date and place of publication supplied by Weitenkampf., LCP exhibition catalogue: Made in America, p. 24., Accessioned 1979., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date: [1820]
Location: Library Company of Philadelphia | Print Department political cartoons - [1820] - 1W [P.2275.24]

Title: [Scrapbook with linen pages]
Description: Scrapbook containing scraps, cutouts, periodical illustrations, and trade cards. Contents depict sentimental, genre, and religious scenes; images of children, animals, mothers and mothering; fancy heads; patriotic, historical, and allegorical figures, including George and Martha Washington; advertisements for Philadelphia, Hartford (Conn.), and New York businesses, including promotions for druggists, patent medicines, and soap; imagery documenting the Centennial Exhibition 1876, including portraits of prominent figures; figures in European costumes; scenes of rural life and European scenery; and landscape views. Also includes a small number of views of factories and industrial buildings; a patent medicine advertisement including an African American man servant character opening a door (p. 76); a print depicting a stanza from Robert Burn’s “The Cotter’s Saturday Night” (p. 22); illustrations of Little Red Riding Hood; the periodical cartoon “A Parent’s Vengeance” (p. 53); "La Belle Chocolatiere from the original painting by Leotard now in the Dresden Gallery" (p. 57); a cutout from a women’s fashion plate (p. 77); H.M.S. Pinafore theatrical character illustrations printed by Ledger Job Printing Office (p. 64); and a calling card for Mary S. Bassett (back inside cover)., Businesses represented include B. T. Babbit (soap); Clark’s O.N.T. (thread); C. F. Rump (leather goods); Corning & Tappan (perfumes); Marburg Bros. (tobacco); Devlin & Co. (clothiers); Dundas, Dirk & Co. (pharmacists); [Hiram] Duryea’s Starch Works; Fairbanks scales (E. & T. Fairbanks & Co.); J. Milton Brewer (druggist); C. L. Hauthaway & Sons (shoe polish); Charles S. Higgins (German laundry soap); The New York Bazar (fancy goods, Phillip Isaacs, proprietor); Demorest’s Monthly Magazine (W. J. Demorest, publisher); Edwin C. Burt (shoes); E. P. & Wm. Kellogg; Samuel Gerry & Cos. (patent medicine); Alex. Boost (analytical chemist); Chas. F. Hurd & Co. (chinaware); E. P. & Wm. Kellogg (photographers & art dealers); and Willcox & Gibbs (sewing machines)., Title supplied by cataloger., Front cover stamped: Scrap Book, Various artists, engravers, and printers including F. Beard; Illman Bros.; Ledger Job Print; L. Prang & Co.; Major & Knapp; Thomas Moran; and Shober & Carqueville., Cutouts and calling card pasted to inside front and back covers., Edges of scrapbook leaves contains stitching in different colors, including yellow, green, blue, red, lilac, and purple., Purchased with funds for the Visual Culture Program., Housed in phase box., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1876-ca. 1879]
Location: Library Company of Philadelphia | Print Department albums - Linen [P.2013.69.1]

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