Clad in a skirt with yellow furbelows and a bonnet, the woman carries a parasol., Text: On the back of your head a neat little bonnet, / A great wide spreading skirt, with furb'ows on it, / Your pride is in dress, but, really, you somehow, / Just put me in mind of a doll, on a hay-mow., Cf. 1.8., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Clad in a skirt with yellow furbelows and a bonnet, the woman carries a parasol., Text: On the back your head a neat little bonnet, / A great wide speading skirt, with furblows on it; / Your pride is in dress, but, really, you somehow, / Just put me in mind of a doll, on a hay-mow., Cf. 1.9., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine shows the back of a large woman in a cloak. "Museum Hippopotamus / Every Night / Day" is written above her., Text: Mussy on us! what a muss / Here's a Hippopotamus / In a fur cloak right upon us, / Hippopota, mussy on us!, Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman hunches forward and wears a dress with a low neckline and furbelows. The valentine satirizes women who are too bold in their affections., Text: O! quite too willing; pray excuse me; / I had rather not, my dear: / Your love, too ardent, might confuse me; / Wait, perhaps I may next year., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
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.
A woman wears a tiered skirt of ruffles of decreasing size that tapers at the ankles. The style of skirt caused women to lean forward in a Grecian Bend; the Grecian Bend style of bustle became popular after 1869., Text: Dear, simpering, fascinating Miss, / It struck me that you looked like this / When last I met you on the street, / In skirt with Grecian Bend replete; / The sight which you present / Would throw the warmest lover off the scent., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman rides a bicycle. The Sun is visible in the background, wearing a wide smile. The valentine suggests the woman look ridiculous riding the bicycle., Text: The Sun in his daily journey / Must gaze on queer sights many, / But I’m sure that on your Cycle / Are quite as queer as any. / Absurd enough you were always / To take away folk’s breath, / But now there’s really danger / You’ll make them laugh to death., Provenance: Helfand, William H..
The valentine shows a man falling over a woman's hoop skirt. The skirt billows up, revealing her legs. The valentine mocks the crinoline fashion for causing accidents. "Pegs" refers to men's legs., Text: The ladies' hoops do dreadful slaughter. / They often cause the chaps to lose their pegs; / And as often quite the girls to show their legs, / And make a world of sport and laughter., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a gown with a tiered, tapered skirt over a Grecian Bend style of bustle. The Grecian Bend became popular after 1869., Text: "Pray, what's the matter," said a friend to me, / "With that young woman that I see?" / I stopped and looked and calmly said, / "The wits have surely left her head, / But where they're gone there's no telling / Unless you judge by large swelling.", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with a narrow skirt and train and neither a crinoline nor a bustle. "Rag and tag" refers to the damage done to the trains of the skirts from walking in the streets. Crinolines were out of fashion in the late 1860s, and then bustles were in vogue. Bustles went out of fashion between 1876 and 1883., Text: Devoid of useless crinoline. / She moves majestic as a queen, / In sweeping robe and drooping bonnet / With many a rag and tag upon it., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man wears a plaid jacket with large sleeves, vest, and pants., Text: What more would have, all plaided and stuffed / Sleeves full dimensioned and puckered and cuffed; / A spectacle spectacled -- good morrow to you, / A sample I pass, for the best Boggs can do., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman's walking dress reveals her legs and her crinoline. The verse mocks the structure of crinoline, which resembled a cage. She wears black boots, a blue coat, and red cap., Text: Behold her pompous, lofty stride, / With her boots, and hoops ten feet wide; / We'll step aside and let her pass, / A bladder filled with wind or gas, / A petticoat made like a cage: / The monster is so huge in size, / And her dress sticks so far out! / The whirling winds now fill her sail., Cf. 2.32., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a low-cut gown and pulls up her skirt so that it reveals her petticoats and ankles. Her face is shaded to suggest rouge and lip coloring. Her holds her thumb to her nose in a disrespectful gesture., Text: Your conduct in loud accents speaks, / That nought can bring shame's blush to cheeks / So hard as your's, -- what shame, alas! / That in your face you've so much brass., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The woman's walking dress reveals her legs and her crinoline. "Sonsie" is slang for "comely.", Text: Clear the track and let me pass, / Boots and hoops, / Am I not a sonsie lass, / One who troops? Ho! my coat of lion skin / Never droops-- / Nor my buttons, nor my chin. / With ribbon loops., Cf.1.39., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man stands in front of a fence smoking a cigar. He wears a fez and a pocket watch. The valentine suggests he is overly impressed with his physical appearance., Text: Why, here’s your portrait ready done, / Now don’t suppose I’m making fun. / ‘Tis like as like you must admit; / I’m sure you’ll highly value it., Provenance: Helfand, William H..
A donkey wears a coat. The sender considers the recipient's attention to dress to be ridiculous., Text: Look Dandy, pray look, / Look at your Brother; / Why should not one Ass, / Look at another., Provenance: Helfand, William H..
A woman wears a large crinoline, a cape, gloves and a hat with a snood. "Bean" can mean money., Text: Of Dandizetts you’re sure the Queen, The loveliest creature ever seen, / Your head so small and shape so fine, / Must make each bean your valentine., Provenance: Helfand, William H..
A woman steps out of a door and reveals her petticoats under her crinoline. A sign behind her reads "To the Bank" and a man is standing next to the steps. The valentine suggests that the sight of her legs is embarassing to the people around her., Text: Oh! Daughter of fair mother Eve, / Your brothers all you sorely greive, / And give us each exceeding pain / To witness thus the curse of Cain. / ‘Tis surely not a modest sight / To have the legs thus brought to light., Provenance: Hlefand, William H..
A coachman wearing a hat and coat with epaulets stands by a carriage and holds a stick. "Monkey's share" can refer to the term monkey's money, meaning payment in kind., Text: Oh, dear me, you think yourself grand, / Standing et my lord’s door with stick in hand, / My lot with you I would not fix, / For the sight of you makes me feel sick, / Bowing here, scraping there / Sometimes you get the Monkey’s share., Cf. Valentine 15.42, Provenance: Helfand, William H..
A coachman wearing a hat and coat with epaulets stands by a carriage and holds a stick. "Monkey's share" can refer to the term monkey's money, meaning payment in kind., Text: Oh, dear me, you think yourself grand, / Standing at my lord’s door with stick in hand, / My lot with you I would not fix, / For the sight of you makes me feel sick, / Bowing here, scraping there / Sometimes you get the Monkey’s share., Provenance: Helfand, William H..
A man wearing gloves, a top-hat, spats and a monocle is riding a horse. The bucking horse has caused him to drop his riding crop and his monocle has fallen out of his eye., Text: A holy show you are, indeed, / When mounted on your bony steed; / To see you ride in your queer style / Would almost make a dead man smile. / If you know how gawky you look, and green, / You would never again on a nag be seen., Provenance: Helfand, William H..
A woman wears a large crinoline. Two small boys in the background mock her by saying "Hoop de doo den doo" and "Who's your Cooper?" One also places a basket on her skirt., Text: A hundred years ago they say, / Hoops were the fashion of the day, / They now completely stop the way. / Hoop de doo den doo. / As they sail along as fine, /In the day’s most busy time, / The passers by will CRY-NO-LINE! / Hoop de doo den doo. / I’m sure it must be van-i-ty, / That makes you so extrav-a-gant-ly / Dress that all the boys will cry, / Hoop de doo den doo. / “Who’s your Cooper” now they ask, / You roll along just like a Cask, / And getting by you is a task, / (with your) Hoop de doo-den doo., Provenance: Helfand, William H..
A man wearing a coat decorated with braid carries a small animal. The valentine warns that his fancy attire will not attract a mate., Text: I as soon would wed a monkey, / As a saucy swaggering flunkey, / Who fancies that a gaudy coat, / Would make the ladies on him doat; / And thinks fine feathers fine birds make, / Though there he makes a great mistake, / For let his coat be e’er so fine, / No flunkey shall by my Valentine., Provenance: Helfand, William H..
A woman wearing a flowered bonnet holds a fold of her dress in her hand. Her shoes, undergarments and crinoline are visible below her dress., Text: If my passion I ever declare, / Your heart I should like to possess; / But alas! You’ve so little to spare, / All being devoted to dress., Provenance: Helfand, William H..
An elaborately dressed woman holds the folds of her skirt. Her shoes and crinoline are visible beneath the skirt., Text: If my passion I ever declare, / Your heart I should like to possess; / But alas! You’ve so little to spare, / All being devoted to dress., Cf. Valentines 15.13, 15.15, 15.16., Provenance: Helfand, William H..
A woman with an elaborate hairstyle carries a parasol. In the other hand, she holds her voluminous skirt. Her petticoat and the tassles on her boots are visible beneath her skirt., Text: If my passion I ever declare, / Your heart I should like to possess; / But alas! You’ve so little to spare, / All being devoted to dress., Cf. Valentines 15.13, 15.14, 15.16., Provenance: Helfand, William H..
A woman carrying a parasol walkes by an enclosed garden. She is holding the front of her skirt up to reveal lacy undergarment beneath it., Text: If my passion I ever declare, / Your heart I should like to possess; / But alas! You’ve so little to spare, / All being devoted to dress., Cf. Valentines 15.13, 15.14, 15.15., Provenance: Helfand, William H..
A man in ragged clothing walks with an umbrella tucked underneath his arm. A bust of a nude young woman on a pedestal is visible in the background., Text: Your buttonless shirt, and ragged coat sleeves, / Proclaim you to be an old Bach; / Pray hunt up some young maid, I really believe / If you tried, you would soon make a match., Cf. Comic Valentine 7.49, Provenance: Helfand, William H..
A man wearing a top hat, frock coat and gloves carries a cane. The valentine suggests that his attention to dress does not succeed in making him attractive., Text: You’re a gentleman true, but you never will do. / Such a long and lean foundry old poker as you; / By the impudent stare, I can vow and declare, / You look like a Smike, and VAGABOND TOO., Provenance: Helfand, William H..
A man with muttonchops looks in a mirror and sees a donkey., Text: Who foolishly regards himself / A handsome man, / Take yonder mirror off the shelf, / And admire your portrait if you can., Provenance: Helfand, William H..
A man walks and smokes a cigar. He carries an umbrella and wears a top hat. The valentine criticizes him for caring too much about following fashions., Text: To be out of fashion is to be out of the world, ‘tis said, / So you adopt the jacket, smoke, and are by fashion led, / In fashion, if you will waste your thread of life, / No Woman of sense, will ever become your Wife., Provenance: Helfand, William H..
A woman wears a large hoop skirt, a cape, and a feathered hat, and carries a parasol and small bag. The sender suggests that such attention to appearances will not make up for the recipient's personal defects., Text: With a fine hat and painted face, / Leading a life of gay disgrace, / Don’t think that wearing such a hat, / Will aid you to catch a flat, / Your false hair is nicely braided, / Your infamy well paraded., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A short and stout country bumpkin smiles and carries a pitchfork. The sender rejects the recipient's romantic advances because of his occupation., Text: Blundering little hussy, who can never move about, / But furniture and tea trays are all put to the rout ; / It's all your foolish vanity because you wil be seen, / When about your work, dressed in a crinoline : / Pray leave off your hoops and gain a little sense, / And then to gain a husband you may make some pretence., "No. 186", Provenance: Helfand, William H..
A man with a monocle and a whip stands in front of a wall. He has antlers protruding from his head., Text: You queer looking fellow, you ill looking brute, / You never will me for a valentine suit, / And if for a husband I ever should take thee / This is the figure I'd certainly make ye., Provenance: Helfand, William H..
A woman wears an elaborate crinoline, shawl and wide-brimmed hat. The hat partially conceals a sheep's head. The valentine suggests a person who does not dress age-appropriately is deceitful. Hecate is a Greek goddess assocaited with magic and crossroads, and is often represented as a hag or a crone., Text: There we see an old ewe, yet more like a ram, / Though a fifty-year old, she’s dressed like a lamb, / Both toothless and ugly, and snafty and base, / Yet she tries to look sheepish, and soft in the face. / Dress on, Mother Hecate, your stiff crinoline, / Floats flauntingly free, abroad in the wind, / But the looks that you give, and the fashions you wear, / Bids all of good sense and of manners beware., Provenance: Helfand, William H..
The valentine shows a woman standing on a city street. She wears a walking dress with short skirt that reveals her crinoline structure, legs, and petticoats. The valentine mocks the recipient's immodest deportment., Text: Oh! Gentle Lady, you know full well, / You care not for mud, but you'd cut a swell-- / A swell you make, if you could see, / You'd be ashamed, as well as we., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman stands while reading a book. Her crinoline has turned up so that it reveals her legs, and a dog stands underneath it. She says, "What are the people staring at, I wonder?", Text: The winds of march will be here soon / Then you who look like a Balloon, / Perchance may the Balloon fate, / And into the air be carried straight. / Like Cesar -- all gentle fair / Should the Ides of March beware, / For were you carried into the sky, / What THINGS ABOVE might meet each eye., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The conceited woman wears a large skirt with furbelows and a crinoline. Her face is obscured by a purple wide-brimmed hat, and her nose is upturned. She extends her left hand., Text: There we see an old ewe, yet more like a ram, / Though a fifty-year old, she's dressed like a lamb / Both toothless and ugly, and snuffy and base, / Yet she tries to look sheepish, and soft in the face. / Dress on, mother Hecate your Stiff Crinoline / Floats flauntingly freely, abroad in the wind, / But the looks you give, and the fashions you wear, / Bids all of good sense and of manners beware., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman in gown with a bustle holds an umbrella and bouquet of flowers. "Three-balls" is slang for a pawnbroker. Bustles became popular after 1869., Text: A Mantilla from your shoulder falls / Just redeemed from the three-balls; / In the street you make a dash, / 'Tis strange how you obtain the cash. / You're too lazy, and fear to work / You dirty, nasty little flirt; / Stay at home-- not gad the street, / And speak to every loafer you meet., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a coat and a large-skirted gown that make her triangle-shaped. The valentine mocks the hoop skirt trend for the cage-like appearance of crinolines and the dirt the large skirts attracted in the streets., Text: Waddling pyramid you go, / Flounce flouncing in the snow; / Pretty lady do not rage, / When I say you're in a cage, / By a lot of hoops secured -- / Of it, I am well assured. / Head, of course, is left outside, / Bonnet on your back doth ride; / Sweep away the side-walks clean, / Of street sweepers, you're the queen., Cf. Valentine 1.41 and Valentine 8.37., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
On public transportation, two fashionable young men (a "pair of bloods") crowd a woman so much that her crinoline billows up, revealing her legs. The men's high opinion of themselves (as "big bugs," or men of importance) is not shared by the woman. A third man is visible in outline; each man wears a different style of hat., Text: Aint you a pretty pair of bloods, as in the cars you ride, / To croud and squeze a lady so, with room upon each side, / You are two big bugs indeed, the ladies think you are two swine, / To squeze a lady in the cars, and smash a crinoline., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a triangular gown and coat. The valentine mocks the crinoline fashion trend, particularly the dirt the skirts attracted in the streets., Pretty lady do not rage / When I say you're in a cage, / By a lot of hoops secured -- / Of it, I am well assured, / Sweep away the side-walks clean, / Of street sweepers, you're the queen., Cf. Valentine 1.41 and Valentine 12.34., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine shows a woman entering a carriage and a man standing behind. Her crinoline pulls up her skirt, hitting the man in the head and revealing her legs to him., Text: Go in, my dear-- go it with a rush, / And never mind the hat; / It is not often that I see / So big a leg as that., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a hoop skirt and floats above the ground. Two men look up at her through a grate, and another man looks at her from a window. A street lamp with a face smiles at her. The sender mocks the recipient's exhibitionism., Text: Oft when seated in the Park, / You wonder what attracts each spark. / To turn and look with such surprise; / "I wonder what attracts all eyes?"/ Alas, alas you little know, / What a show you make below., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with a large bow, gloves and a hat and carries an umbrella. The valentine criticizes her for talking too loudly., Text: In girls of these progressive days / A little boldness we expect, / And, when within due bounds it’s kept, / Not many will object: / But, o’er all bounds you go so far / With your loud ways, and saucy face, / That every one’s disgusted with / Your lack of womanly grace., Provenance: Helfand, William H..
A woman in an elaborate outfit smiles and puts one hand on her hip. Her smile reveals gaps in her teeth. The valentien suggests she has an inlfated opinion of herself., Text: In cheap, dinky togs, which you think very fine, / You try every Sunday to cut a big shine; / Of style or of beauty you’ve nothing to speak, / But you make up your shortage with plenty of cheek. / Perhaps you imagine that people you meet / Don’t know what you are as you walk down the street; / If so, you’re in error to think them so green, / For you’re known for a Shop Girl as soon as you’re seen., Provenance: Helfand, William H..
A man stands in a garden smoking a cigarette or cigar. He wears a top hat, glasses, and patterned trousers. He also has a moustache and muttonchops. The valentine chides him for focusing too much on dress and following fads., Text: To be out of fashion is to be out of the world, ‘tis said, / So you adopt the jacket, smoke, and are by fashion led, / In fashion, if you will waste your thread of life, / No Woman of sense, will ever become your Wife., Cf. Valenitne 16.42, Provenance: Helfand, William H..
Two moustached men are shown with identical top hats, canes, and cigars. The man on the left is how he sees himself, the man on the right is how others see him. The text suggests that by drawing attention to himself with fine clothes, he seems even more ridiculous., Text: Upon the left we here portry / The way you think you look, you jay, / While there is shown upon the right / Your aspect in the public's sight. / You see the difference is not small / And if you'd any sense at all, / You would be careful not to wear / So pompous and absurd an air., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
