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Title: First grand complimentary Citizens's Dress Ball To be given to Mr. John Bell, on Easter Monday night, April 5th, 1847, at the Bazaar Saloon of the Phila'a Museum. [invitation]
Description: Invitation containing a decorative top border of delicately illustrated elements. Includes ornamental cornices, rosebuds, twigs, and two birds. Text of invitation reads: Mr.__________ compliments to M.___________ desiring the pleasure of her Company at the above ball. Also contains the names of the manager, floor manager, and assistant floor managers., Not in Wainwright., Philadelphia on Stone, POSP 81, Historical Society of Pennsylvania: Ba 64 K 512
Date: [1847]
Location: Historical Society of Pennsylvania HSP Ba 64 K 512

Title: Solar Tip Shoes Made only by John Mundell & Co. Philada. None genuine without our trade mark. Look out for the trademark. The “Solar Tips Social Club.” We buy none but solar tip
Description: Illustrated trade card containing a scene showing a children’s cotillion of the Solar Tips Social Club. The boy and girl club members dance as couples in their fancy attire, well-dressed hair, and "Solar Tips Social Club" sashes. To the right, children wearing tattered and non-solar tipped shoes gather forlornly to the side by a pole marked “We Must Buy Solar Tip Shoes and Join the Happy Party." A boy sits, legs outstretched, on the floor, as girls cry, comfort one another, and stare at their feet. The firm's trademark is incorporated into the scene and reads "The Best Sole Leather Tip Made. Patd. February 19, 1878. J.M. & Co. Trade Mark. Reg." Also includes the firm's trademark and a vignette entitled "He would put his finger in the pie and he burnt his nail off" printed on verso showing a man with a surprised look on his face inspecting his burnt finger at the dinner table., Distributor's imprint printed on verso: Rindge, Bertsch & Co., Grand Rapids, Mich., Manuscript note on verso under "Sold at retail by": Friedrich., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department trade card - Mundell [1975.F.597]

Title: Solar Tip Shoes Made only by John Mundell & Co. Philada. None genuine without our trade mark. Look out for the trademark. The “Solar Tips Social Club.” We buy none but solar tip
Description: Advertisement containing a scene showing a children’s cotillion of the Solar Tips Social Club. The boy and girl club members dance as couples in their fancy attire, well-dressed hair, and "Solar Tips Social Club" sashes. To the right, children wearing tattered and non-solar tipped shoes gather forlornly to the side by a pole marked “We Must Buy Solar Tip Shoes and Join the Happy Party." A boy sits, legs outstretched, on the floor, as girls cry, comfort one another, and stare at their feet. The firm's trademark is incorporated into the scene and reads "The Best Sole Leather Tip Made. Patd. February 19, 1878. J.M. & Co. Trade Mark. Reg.", Not in Wainwright., pdcp00048, Philadelphia on Stone, POSP 219, Free Library of Philadelphia: Philadelphiana - Tradesmen's Cards. One of three Mundell advertisements. Only one with imprint.
Date: [ca. 1880]
Location: Free Library of Philadelphia. | Print and Picture Collection. FLP FLP Philadelphiana - Tradesmen's Cards

Title: All for Balls and Dress.
Description: A dancing woman wears a veil and a brightly colored gown. The first line of the verse alludes to Milton's L'Allegro (1645) and refers to dancing. She wears a necklace and bracelet., Text: To trip it on the light fantastic toe-- / To every ball and rout you wish to go; / Your only loves, my charmer, now confess, / Are but the loves of balls and loves of dress., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: Meschianza Mirror
Description: This richly decorated frame has carved and gilded moldings with pendants of leaves, blossoms, and fruit. Lettered around the frame in gilt reads, “Mischianza-1778. / This mirror was in the ballroom of the Wharton House, Philadelphia at the above date & on the occasion of above fête./ General Meredith Read’s André relics.” The Meschianza ended with a ball, which took place in an elaborate canvas tent. The interior of the tent was painted and decorated with mirrors (including this one) and chandeliers, many of them borrowed from neighboring mansions., Gift of Mrs. John Meredith Read, 1900., Exhibited in the Philadelphia Museum of Art's exhibition, Art in Revolutionary Philadelphia (2010-2011).
Date: Ca. 1760
Location: OBJ 602

Title: Grand Union ball in honor of the recent brilliant victories achieved by the land and naval forces of the United States, at the Academy of Music, Tuesday evening, March 4, 1862
Description: Advertisement containing a gothic-style ornamental border surrounding text providing the date of the ball, names of sponsors, ticket information, and entertainment details. Border includes vignettes of cherubs; allegorical figures representing the arts including painting, sculpture, and music; a portrait of George Washington; a mythical scene; and a view. Scene shows a bare-chested woman on a horse being attacked by a tiger surrounded by symbols of industry, science, and the humanities. View shows a seventeenth-century landing party aboard a skiff. Sponsors include Alexander Henry, Commodore C.J. Pendegrast, and Capt. W.S. Ogden. Master of Ceremonies was M[iecislaw] Hlasko (a dancing and gymnastics teacher who offered drill classes at his physical institute) and music was under the direction of the Hassler Brothers., Philadelphia on Stone, POSP 97, Originally part of a McAllister scrapbook of Civil War miscellanies.
Creator: Weeber, L., lithographer
Date: [1862]
Location: Library Company of Philadelphia | Print Department *BW - Advertisements - A [(2)5786.F.147a]

Title: Hand in Hand Fire Company, first grand citizens dress ball
Description: Invitation containing vignette scenes and pictorial and ornate border details. Vignettes scenes depict the figure of liberty with the American eagle and shield; a sailor and farmer in conversation, and couples dancing in a ballroom. Details include a hand pump fire engine; clasped hands; and filigree. Hand-in-Hand Fire Company, one of the city’s first volunteer fire companies, was organized on March 1, 1741 or 1742., Date from Poulson inscription., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., POSP 280
Date: 1847
Location: Library Company of Philadelphia | Books & Other Texts | Rare Poulson scrapbooks - vol.5 [(5)2526.F.8]

Title: Lithographic Printers Union annual ball Ladies invitation. Jany. 25th, 1858
Description: Ladies' invitation to an annual ball for the Lithographic Printers Union illustrated by a fairy-like female figure with wings surrounded by flower bushes. Standing lightly on her toes, she holds fresh-picked roses in her right hand., Not in Wainwright., Philadelphia on Stone, POSP 135, The Lithographic Printers Union was instituted on February 28, 1854. Copy of their "Constitution and By-Laws for 1857" in the collections of the German Society of Pennsylvania, Philadelphia, Pa. Fred C. Munson, "History of the Lithographers Union," p. 1, suggests that a lithographic trade union existed in Philadelphia as early as 1843., New York Public Library: MEZDP, Courtesy of Print Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, the New York Public Library, Astor, Lenox and Tilden Foundations.
Creator: Bigot, Alphonse, ca. 1828-1872 or 3, artist
Date: 1858
Location: New York Public Library NYPL MEZDP

Title: Second grand ball of the Lithographic Printers Union On Monday ev'g May 18th 1863 at the Musical Fund Hall
Description: Invitation to the second grand ball for the Lithographic Printers Union illustrated by three vignettes, including a man drawing on a stone in a studio; men and women dancing at a ball; and a man rolling ink onto a stone. The title and illustrations are surrounded and separated by cherubs and filigree enlaced with flowers., Not in Wainwright., On recto in fine print: Master of ceremonies: Henry Morris. Floor managers: John Tolland, John Collins, James Deady, T.S. Whitehead, Wm. Smith. Committee: J.P. Tolland, John Collins, James Deady, T.S. Whitehead, Henry Morris, A.L. Wiese, Peter Alexander, J.N. Conklin., Philadelphia on Stone, POSP 205, The constitution and by-laws of the Lithographic Printers Union were instituted on February 28, 1854. Fred C. Munson, "History of the Lithographers Union," p. 1, suggests that a lithographic trade union existed in Philadelphia as early as 1843.
Creator: Bigot, Alphonse, ca. 1828-1872 or 3, artist
Date: 1863
Location: Library Company of Philadelphia | Print Department *trade cards - Lithographic Printers Union [P.9349.277]

Title: Coterie Carnival, Academy of Music, Abel & Riley, directors, Monday, Jany 11th, 1869
Description: Advertisement for the Coterie Carnival, a costume and dance ball held at Philadelphia's Academy of Music. A photograph montage on the advertisement depicts the carnival with men and women promenading and dancing in the center while individuals watch from seats surrounding this central area., Not in Wainwright., Philadelphia on Stone, POSP 45, Originally part of a McAllister scrapbook of views of Philadelphia.
Date: [1869]
Location: Library Company of Philadelphia | Print Department BW - Advertisements [(1)1322.F.141]

Title: A Ball Character.
Description: The woman depicted is thin, gaunt, tall, and has a pinched face. Her arms are raised. She wears a poke-bonnet and a dress with a high neckline and thin skirt., Text: "A Ball, a Ball --- an abomination!" / It's a scandal to all creation : / Now no one would take you; you groan and bawl, / And say that the Dev-l will take us all., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: Charity ball of the Sons of Malta at the American Academy of Music Philadelphia March 4th 1859 Minnehaha Lodge & Supreme Grand Council of the I.O.S.M of East Pennsyla
Description: Fraternal organization invitation incorporating a medieval theme. Includes a knight, a woman in medieval attire shielding her children with her cloak, a globe wrapped in the American flag, the eye of god, and an ivy border. The Sons of Malta Minnehaha Lodge was organized in 1857 and dissolved in 1903. It was the last lodge of the social club., Originally part of a McAllister scrapbook of views of Philadelphia., Clipping dated March 5, 1859 describing the ball included in Poulson's scrapbooks, Illustrations of Philadelphia, vol. 1, p. 45., Philadelphia on Stone, POSP 24
Creator: F. Moras & J.H. Camp
Date: [1859]
Location: Library Company of Philadelphia | Print Department BW - Associations - I [(1)1322.F.104]

Title: Grand citizens' dress ball to be given by the machinists of the Philad'a Navy Yard, for the benefit of the Volunteers' Refreshment Fund at the Musical Fund Hall, on Friday ev'g, Oct. 25, 1861. Tickets one dollar. Can be obtained of any of the managers, and at the following places
Description: Originally part of a McAllister scrapbook., Digitized by Alexander Street Press for Images of the American Civil War.
Date: [1861]
Location: Library Company of Philadelphia | Books & Other Texts | Rare #Am 1861 Grand 5778.F.39a (McAllister)

Title: Belle of the Ballroom.
Description: A woman wears a dress with a yellow skirt with furbelows and a small red bodice. Behind her a couple dances underneath a chandelier, and a man plays a cello on a balcony. The valentine mocks the recipient for being a wall-flower., Text: Why do you mingle in the whirl / Where the dancers close are clinging? / You're but a wall-flower, my girl, / While a belle should surely ring in!, Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: Reunion of the students and graduates of the Quaker City Business College, Thursday evening, February 14, 1867 Exercises to commence at eight o'clock
Description: A program and dance card., A.H.G. Richardson, master of ceremonies., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Quaker City Business College (Philadelphia, Pa.)
Date: [1867]
Location: Library Company of Philadelphia | Books & Other Texts | Rare Am 1867 Quaker 3321.F.8

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. 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: [Philadelphia Inquirer art supplements]
Description: Series of art supplements depicting genre, historical and allegorical scenes, landscapes, portraiture, and character studies. Includes "Aurora" showing a white female fairy figure smelling a flower; "The Pilot" portrait of an older white man sea captain smoking a pipe; "The Partners" showing a white girl and boy with a broom and shovel; "Tambourine Girl"; "Playmates" depicting a white girl holding a cat; "Deep Sea Fisherman"; "Night of the Ball" depicting an exterior view of a palatial estate in the snow with an inset showing a young white woman in evening attire; "One of the Four Hundred" showing a white boy costumed as a vagabond; "By the Sea" showing an older African American seaman, attired in a grey top hat, a white collared shirt, a blue and gold bowtie, red suspenders, a yellow jacket with a flower boutonniere, brown pants, and boots, smoking a pipe; an older white man reading "Fairy Tales" to a white girl; "Sheik of the Desert" a bust-length portrait of an Arab man; "A Lively Scrimmage" during a football game; a dog inspecting "Five O'Clock Tea"; a white clergyman having "A Disappointing Luncheon"; a view "Off the Belgium Coast near Ostend"; "Spring" and fall landscapes; "Does You Mother Know You're Out" depicting a white girl with a newly hatched chick; "Napoleon and the Old Guard"; "Wellington and His Soldiers"; a white man and woman couple on "A Honeymoon at Niagara"; and a white lady portrayed fancifully "Among the Roses.", Title supplied by cataloger., Various artists, including M. Duboy, C.L. Van Vredenburgh, Charles P. Gruppe, A. I. Keller, and W. Merritt Post., Various printers, including Forbes Lithograph Manufacturing Company; Leopold Gast & Brother; Julius Bien & Co.; Donaldson Bros.; Ketterlinus; and J. Ottmann., Two of prints designed to stand as display cards., Originally part of Specimens Album [P.9349]., Gift of Margaret Robinson, 1991., Description revised 2022., Access points revised 2022., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date: [ca. 1894-1898]
Location: Library Company of Philadelphia | Print Department Specimens Album Loose Prints Collection - Philadelphia Inquirer [P.9349.282, 287, 295, 310, 313, 323-325, 330-331, 413, 424, 432, 434, 440, 457, 463-464, 466, & 469]

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 Waltz, Mr. Lorenzo?"
Description: Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a pink, large, oval-shaped headpiece with several feathers, an ankle-length blue and yellow dress with pink trim, puff sleeves and a pink rope belt with tasseled ends, white gloves, white ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in white pantaloons, a green coat with tails, white vest, white shirt with turned up collar, white bow tie, white gloves, white stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring., Title from item., Date from item., Inscribed: Plate 13., Copy right secured., Contains five lines of dialogue in the vernacular and dialect above the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, S. Hart and 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 alone reprinted the entire series of 14 prints in 1830., 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.9697]

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, white pantaloons and stockings, ruffled white shirt, white gloves, a 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 red, cap-sleeved gown with an apron detail, a large white 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 hand-colored yellow and depicting other African American men and women ball attendees., Title from item., Date inferred from content and name of publisher., Contains four lines of dialogue in the vernacular and dialect below the image: “Shall I hab de honour to dance de next quadrille wid you, Miss Minta?” “Tank you Mr. Cato, _ wid much pleasure, _ only I am engaged for de nine next set!_”, Inscribed: Plate 5., The symbol of a key is used in place of the name Clay., Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed publishing of the "Life in Philadelphia" series in 1829. She reprinted the entire series of 14 prints in 1830., Shane White and Graham White's Stylin': African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4,A2880.O)., 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.9699]

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 brown hand coloring. Scene also includes background imagery depicting other African American men and women ball attendees., Title from item., Date printed on item., Inscribed: Plate 5., The symbol of a key is used in place of the name Clay., Contains four lines of dialogue in the vernacular and dialect below the image: “Shall I hab de honour to dance de next quadrille wid you, Miss Minta?” “Tank you Mr. Cato, _ wid much pleasure, _ only I am engaged for de nine next set!_”, 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.", Shane White and Graham White's Stylin': African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., 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.8471.1]

Title: Life in Philadelphia. A black ball. La pastorelle
Description: Racist caricature ridiculing the manners and dress displayed at an African American dance ball by depicting attendees making malapropisms as they flirt with one another. A male attendee promenades with "Miss Zephyrina," on his left, dressed in a pink gown with white pantalettes and another woman dressed in a multi-colored gown on his right. He is impressed with Miss Zephyrina's "Rotations" from the poet "Joe Miller" who from which she quotes, "Grace in all he teps ... in all him action, dignity, and lub." In front of them, in the right, "Brudder Brutus" gestures toward Miss Zephyrina and states that he feels the same "Ting." Brutus, who is "cutting him capers by himself" has impressed the lady in the multi-colored dress who looks with rounded eyes upon his pointed toe. To the far right, a man depicted with bow-legs and attired in a large blue tie, and accompanied by a short-statured lady in a pink and yellow gown, is shown with his eyes looking to the left toward the "elegum Wenus in de trousers," Miss Zephrina. She makes his "heart tump about." Several other men and women attendees are seen in the background. Figures are depicted with oversize and exaggerated features. The men are depicted attired in coats with tails, pantaloons, stockings, and slipper shoes adorned with bows., Title from item., Date inferred from content and name of publisher., Contains five dialogue bubbles above the image: What a figure Broder Brutus look cutting him capers dare by himself./ What fine Rotations Miss Zephyrina make from de poets./ Grace in all he teps – heaben in he eye in all him action dignity and lub as de poet Joe Miller say/ If I didn’t feel jist de Ting how bery frit I should be afore such quizzes./ How dat elegum Wenus in de trousers make my heart tump about., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, delineator
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.10]

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, yellow pantaloons and white stockings, ruffled white shirt, white cravat, 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 yellow, cap-sleeved gown with blue trim and an apron detail, a large white and pink-striped 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." The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes a wooden chair with a red padded seat partially visible in the left foreground and background imagery depicting the interior of a ballroom with a large mirror and other African American men and women ball attendees portrayed with exaggerated features., Title from item., Date inferred from content and name of publisher., Inscribed: No. 16., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., 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. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.13]

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, white pantaloons and stockings, ruffled white shirt, red cravat, white 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 yellow, 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 red 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 a wooden chair with a red padded seat partially visible in the left foreground and background imagery depicting the interior of a ballroom with a large mirror and other African American men and women ball attendees portrayed with exaggerated features., Title from item., Date inferred from content., Inscribed: Plate 6., Shane White and Graham White's Stylin':African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7658.F]

Title: Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo?"
Description: Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a pink, large, oval-shaped headpiece with several feathers, an ankle-length yellow dress with pink trim, puff sleeves and a rope belt with tasseled ends, white gloves, white ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in white pantaloons, a brown coat with tails, white vest, white shirt with turned up collar, white bow tie, white gloves, white stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting of scene also includes a wooden floor., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Plate 13 of the original series published in Philadelphia., Inscribed: Plate 13., Contains five lines of dialogue in the vernacular and dialect below the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9707.4]

Title: Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo..."
Description: Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a large, oval-shaped headpiece with several feathers, an ankle-length dress with trim, puff sleeves and a rope belt with tasseled ends, gloves, ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in pantaloons, coat with tails, vest, shirt with turned up collar, bow tie, gloves, stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Setting of scene also includes a wooden floor.., Title from item., Date inferred from content and name of publisher., Contains five lines of dialogue in the vernacular and dialect below the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, After the work of Edward W. Clay., Plate 13 of the original series published in Philadelphia., Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1967.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7645.F]

Title: Life in Philadelphia. A black ball. La pastorelle
Description: Racist caricature ridiculing the manners and dress displayed at an African American dance ball by depicting attendees making malapropisms as they flirt with one another. A male attendee promenades with "Miss Zephyrina," on his left, dressed in a yellow gown with green pantalettes and another woman dressed in a pink gown on his right. He is impressed with Miss Zephyrina's "Rotations" from the poet "Joe Miller" who from which she quotes, "Grace in all he teps...in all him action, dignity, and lub." In front of them, in the right, "Brudder Brutus" gestures toward Miss Zephyrina and states that he feels the same "Ting." Brutus, who is "cutting him capers by himself" has impressed the lady in the pink dress who looks with rounded eyes upon his pointed toe. To the far right, a man depicted with bow-legs and attired in a large yellow tie, and accompanied by a short-statured lady in a green gown, is shown with his eyes looking to the left toward the "elegum Wenus in de trousers," Miss Zephrina. She makes his "heart tump about." Several other men and women attendees are seen in the background. Figures are depicted with oversize and exaggerated features. The men are depicted attired in coats with tails, pantaloons, stockings, and slipper shoes adorned with bows., Title from item., Date inferred from content and name of publisher., Contains five dialogue bubbles above the image: What a figure Broder Brutus look cutting him capers dare by himself./ What fine Rotations Miss Zephyrina make from de poets./ Grace in all he teps – heaben in he eye in all him action dignity and lub as de poet Joe Miller say/ If I didn’t feel jist de Ting how bery frit I should be afore such quizzes./ How dat elegum Wenus in de trousers make my heart tump about., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, delineator
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [6253.F]

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

Title: [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: [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: [Life in Philadelphia scraps]
Description: Series of trimmed, captioned scraps containing racist African American imagery based on the “Life in Philadelphia” series after the designs of Edward W. Clay first published 1828-1830. The series of primarily racist social caricatures lampooned the etiquette and conventions of early 19th-century, middle-class Philadelphians, particularly the growing community of free African American persons. Caricatures depict scenes of courtship, society balls, fashion, freemasonry, and the election of Andrew Jackson, as well as sexism, sexual harassment, and sexual innuendo. The figures are portrayed with oversized and exaggerated features and often in the fashion of dandies and belles. Scenes include an African American man leaving his card for “Clotilda” at her basement apartment door within the dishcloth of her African American woman house servant before him (P.2021.28.1a); an African American man-woman couple stopped during their walk in a park to watch a man watching them (P.2021.28.1b); an African American ball at which an African American man attendee asks an African American woman attendee for a dance in front of other African American attendees in the background (P.2021.28.2a); an African American man sexually harassing an African American woman on a city street (P.2021.28.2b); an African American woman and man in conversation on a Sunday (“day of our lord”)(P.2021.28.3a);, African American couple “Mr. Lorenzo” and “Miss Chloe,” seated on a couch, by a window, in a parlor in conversation (P.2021.28.3b); an African American ball at which an African American woman attendee asks an African American man attendee if he likes the waltz in front of other African American attendees in the background (P.2021.28.4a); an African American woman in a dry goods store asking a white man sales clerk, who speaks with a French dialect, about stockings (P.2021.28.4b); an African American military volunteer chastising an African American boy drummer at a military encampment (P.2021.28.5a); an African American man-woman musical couple where she plays the guitar and he sings “Coal Black Rose”(P.2021.28.5b); two African American masons in conversation about “Gen’l Jackson” in front of an altar at a masonic hall (P.2021.28.6a); an African American woman, “Dinah,” being asked by an African American man, “Mr. Durang,” about his new checkered “fashion trousers” (P.2021.28.6b). Women figures are attired in wide-brimmed, and/or ornately adorned, wide-brimmed hats or headpieces, puff-sleeved dresses or a hooded cape in ornate patterns, as well as gloves, slipper shoes, jewelry, and monocles. Men figures are attired in top or wide-brimmed hats, waistcoats, vests, large bowties, trousers or pantaloons, military uniform, masonic regalia, gloves, and slipper shoes or boots. Accessories held by the figures include purses, umbrellas, fans, walking sticks., Scenes also include detailed backgrounds and interior and exterior settings including residential facades; dogs; a white man seated on a bench in a park; ballrooms with attendees and a band playing in a balcony; a section of a city street with a guardhouse; parlors; a counter at a dry goods store; a volunteer military encampment; a masonic hall; as well as pieces of furniture, such as chairs, mantles, and side tables., Title supplied by cataloguer., Date inferred from content., P.2021.28.1a contains three lines of dialogue in the vernacular and dialect below the image: Is Miss Clotilda at home? No sir she’s particularly ingaged in washing de dishes – Ah! give her my card!, P.2021.28.1b contains two lines of dialogue in the vernacular and dialect below the image: Vol is you looking at my dear? Vy I’m looking at dat imperent fellow vat’s laughing at us?, P.2021.28.2a contains three lines of dialogue in the vernacular and dialect below the image: Will you hona me wid your hand for de next codrille Miss Manda? Tank you sa’ but I’m ingaged for de nest ten set!, P.2021.28.2b contains two lines of dialogue in the vernacular and dialect below the image: What do you take me for? you black nigger? Why I take you for myself to be sure., P.2021.28.3a contains two lines of dialogue in the vernacular and dialect below the image: Bery hot dis day of our lord Mr. Cesa! Berry hot indeed Miss Juliet – de terometa is 96 degree above joho., P.2021.28.3b contains two lines of dialogue in the vernacular and dialect below the image: Mr. Lorenzo dat’s a nice dog you’ve got” Lord! Miss Chloe., P.2021.28.4a contains two lines of dialogue in the vernacular and dialect below the image: do you walse Mr. Wellington? No, my dear creta_ It’s to common. I go nothin but de Manourkey!, P.2021.28.4b contains two lines of dialogue in the vernacular and French dialect below the image: Have you any flesh coloured silk stockings, Sir? Oui Mamselle here is von pair of de last Parisian touch-, P.2021.28.5a contains two lines of dialogue in the vernacular and dialect below the image: You say I belong to de milishy you black varmont. I’ll let you know I’m a wolunteer., P.2021.28.5b contains two lines of dialogue in the vernacular and dialect below the image: How will your voice harmonize wid de sentiment. Mr. Cato you quite equal to Horn!, P.2021.28.6a contains three lines of dialogue in the vernacular and dialect below the image: Well brudder Jones what you tink of Genl Jackson now? Day say he’s gwang to be Anti Masonic! I don’t know, I tink dat depend on de new cabinet., P.2021.28.6b contains three lines of dialogue in the vernacular and dialect below the image: How you like de new fashion trousers Dinah. Oh quite lubly! You look like Mr. Durang when he play harlequin in de masqarade., Printed in upper left corner of P.2021.28.1a: [E?]dition., Printed in upper right corner of P.2021.28.2a and trimmed: 2nd E?[dition?], RVCDC
Date: [ca. 1838-ca. 1855]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (Miscellaneous) [P.2021.28.1a-6b]

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