Full-length portrait of an African American man, attired in a brimmed hat, a long-sleeved shirt, and pants with large tears and holes, holding a wooden plow over his shoulder. He stands in front of a wooden building and to the left of a wooden door. In the right is a white dog with its back to the viewer., Title supplied by cataloger., Date inferred from photographic medium and content., Purchase 2011., 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
1885
Location
Library Company of Philadelphia | Print Department portrait photographs - miscellaneous - Stevens [P.2011.16]
Abolitionist book illustration used to illustrate the inhumane transit conditions for enslaved people during the midddle passage across the Atlantic. Depicts aerial, horizontal, and vertical cross sections of the multi-decked ship tightly packed with prostrate enslaved figures. The proportional diagram, based on the dimensions of the English slave ship, "Brooke," and space calculations, based on a report to the House of Commons in London in 1798, contains fewer figures than the number of humans routinely transported on the actual ship., Title from earlier plate in C.B. Wadstrom's An Essay on Colonization (London: C.B. Waldstrom, 1794). (LCP *U Afr Wads, 728.Q)., Plate from Thomas Clarkson's The History of the Rise, Progress, & Accomplishment of the Abolition of the African Slave-Trade, by the British Parliament. Vol. II (Philadelphia: James P. Parke, 1808). (LCP Am 1808 Clar, 1934.D)., Originally part of a McAllister scrapbook of Civil War 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Kneass, William, 1780-1840, engraver
Date
[1808]
Location
Library Company of Philadelphia | Print Department *GC-Slavery [5755.F.11]
Interior view showing the plaster model for the proposed design of the Freedman's Memorial to Lincoln by expatriate sculptor Harriet Hosmer when on display in the Boston Athenaeum, likely statuary gallery, in 1866. Shows, from an oblique angle, the model on top of a draped table and in front of two archways. The model of the Memorial design was composed of mutiple tiers on the top of which lied a figure of Lincoln in a sarcophagus within an open temple. An edited version of the words of the Emancipation Proclamation adorned the temple which stood on a base with a frieze designed with thirty-six female allegories representing the states of the Union during Lincoln's presidency. On the base below the temple was a sculptural cycle of African American history to that period. Four standing Black male figures on pedestals surrounded the base at each corner. The figures portrayed included a seminude, enslaved man, with his head down, and his wrists manacled; a soldier in uniform with a forward gaze and a bayonetted rifle in his hands that was pointed to the ground; an enslaved man who rests on a hoe with his head bowed down; and a soldier, looking ahead, and holding a gun. On the four outside corners were "Mourning Victories" with their trumpets reversed. The angle of the image shows a view of the model that includes the Lincoln figure, three of the African American men figures, and three of the "Mourning Victories.", Hosmer designed the Memorial in response to a monument project sponsored by the Western Sanitary Commission of St. Louis after formerly enslaved Charlotte Scott of Marietta, OH pledged $5 for a monument to Abraham Lincoln following his assassination in 1865. Donations from formerly enslaved persons grew to $20,000 within months of Scott's original donation. Hosmer later altered the design and an engraving of her new proposal appeared in the Art Journal (London), January 1, 1868. Hosmer's model, purported to cost over $100,000 to be executed, was never sculpted. After years of competing projects, designs, and sponsoring agencies, on April 14, 1876, a sculpture by Thomas Ball, "Emancipation," designed without the input of the formerly enslaved donors was erected in Lincoln Square, Washington, D.C. on an eastern edge of Capitol Hill., Title printed on mount., Date from copyright statement: Entered according to Act of Congress, in the year 1866, by Harriet G. Hosmer, in the clerk's office of the District Court of the District of Massachusetts., Harriet Hosmer (1830-1908) was a lesbian, expatriate neoclassical sculptor, who was one of the most famous artists of her time. Hosmer had her own studio and her work often focused on idealized mythological female figures associated with strength and courage. Hosmer was also a women's rights activist and an inventor., Purchased with the Louise Marshall Kelly fund., See Kirk Savage, Standing soldiers, kneeling slaves: Race, war, and monument in nineteenth-century America (Princeton: Princeton University Press, 1997), p.89-128., John B. Heywood (d. 1870) operated a photographic studio in Boston circa 1858-circa 1870, when he then appears to have relocated to Chicago per 1870 census records. He may also be the J.B. Heywood who advertised a photographic studio in New Bern, N.C. in 1866. Between 1869 and 1870, he is listed in Boston at 25 Winter, the address of photographer and publisher Frank Rowell, who established a branch of his photographic studio in Chicago in 1867.
Creator
Heywood, John B., -1870, photographer
Date
1866
Location
Library Company of Philadelphia | Print Department cdv - Heywood - Monuments & statues [P.2022.28.1]
Front and oblique views with a dark background, likely photographed in Thomas Ball's studio, showing his model for a design later proposed and adapted for the Freedman's Memorial to Lincoln (erected 1876, Washington, D.C.) that was first discussed as a Lincoln monument in the later 1860s. Shows the model composed of a figure of Abraham Lincoln (left) and a kneeling, emancipated, enslaved Black man figure (right). The Black man figure, is portrayed in left profile, looking out toward the vista, and with his left knee to the ground and his right knee bent. His left foot is arched up from the ground. He holds his left hand with his knuckles to the ground and his right hand across his waist and resting on the inner elbow of his left arm. The figure has curly hair and wears a Liberty cap and a loin cloth. Broken shackles adorn his wrists. The Lincoln figure, attired in a suit with a long coat, stands, looks down on the Black man figure, and holds out his left hand above the kneeling man, while his right hand holds the Emancipation Proclamation (semi-rolled) on a plinth decorated with patriotic symbols. Symbols include a profile portrait of George Washington, the fasces of the U.S. Republic, and a shield adorned with the stars and stripes. The base of the plinth is inscribed "T. Ball 1865." The figures rest on a base marked "And upon this act-I invoke the considerate judgment of mankind and the gracious favour of Almighty God.", A national monument project sponsored by the Western Sanitary Commission of St. Louis was initiated after formerly enslaved Charlotte Scott of Marietta, OH pledged $5 for a monument to Abraham Lincoln following his assassination in 1865. Donations from formerly enslaved persons grew to $20,000 within months of Scott's original donation. After years of competing projects, designs, and sponsoring agencies, on April 14, 1876, Ball's sculpture adapted from the model depicted, the "Emancipation Memorial," and designed without the input of the formerly enslaved donors was erected in Lincoln Square, Washington, D.C. on an eastern edge of Capitol Hill., Title supplied by cataloger., Photographer's imprint stamped on mount., Manuscript note on verso of verso of P.2023.32.1: Florence March 15th 1872. Emancipation Proclamation. T. Ball of Boston., Manuscript note on verso of verso of P.2023.32.1: Florence March 15th 1872. Emancipation Proclamation. T. Ball of Boston. Sculptor in Florence., Date from manuscript note on verso., Thomas Ball (1819-1911), sculptor, focused his career on the portrayal of statesmen and historical figures. He located to Florence to study sculpture in 1854. Between 1857 and 1865, he worked in Boston before returning to Florence until 1897. Ball was part of an expatriate community of artists and sculptors, including Hiram Powers, father of Longsworth Powers., See Kirk Savage, Standing soldiers, kneeling slaves: Race, war, and monument in nineteenth-century America (Princeton: Princeton University Press, 1997), p.77-83 and 114-123., RVCDC, Longsworth Powers (1835-1904), son of sculptor Hiram Powers, lived in Florence with his family in the 1830s and returned in 1860 and began a career as a sculptor and photographer. Powers photographed prominent men and women in the city.
Creator
Powers, Longsworth, 1835-1904, photographer
Date
[1872]
Location
Library Company of Philadelphia | Print Department photo - Powers [P.2023.32.1-2]
View of the first president's Virginia estate showing the residence and grounds near the Potomac River. Shows the house and a white gentleman standing near the entrance. On the grounds, two white women with parasols promenade, an enslaved African American man leads a horse, a white man carries a sickle and a bundle of wheat, and a dog chases another horse. In the left background, a boat sails on the river., Title from item., Date inferred from provenance and publication history., Originally published as a smaller plate in William Birch's Country Seats in the United States of North America (Philadelphia: 1804), this view was revised on a larger plate and reissued as a separate print by Birch in 1812. The popular larger 1812 plate was later republished, probably by John McAllister, around 1860., Originally part of a McAllister scrapbook of views of Virginia. McAllister Collection, gift, 1886., Reaccessioned as P.9683.5., 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
Seymour, Samuel, 1796-1823, engraver
Date
[ca. 1860]
Location
Library Company of Philadelphia | Print Department *GC - Residences - Mt. Vernon [5737.F]
Abolitionist, vignette-size portrait of the propagandized fair-skinned child emancipated from enslavement, Rosina Downs. Freed by Union General Butler in New Orleans, the child toured through the North with other people emancipated from enslavement to raise funds for the schools of Louisiana for the formerly enslaved established by Philip Bacon, Assistant Superintendent of Freedmen. Downs, daughter of a multiracial mother and Confederate soldier, was one of three touring children denied entrance to a Philadelphia hotel in December 1863., Title from item., Date inferred from content., Probably by Philadelphia photographer James E. McClees., See Harper's weekly, January 30, 1864, p. 71., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1983), p. 187-210., One of the cartes de visite trimmed and originally part of a McAllister scrapbook of Civil War materials [(2)1540.F.13e]. 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- Downs [P.8925.6; (2)1540.F.13e]
Abolitionist, bust-length portrait of the propagandized fair-skinned child emancipated from enslavement, Rebecca Huger. Freed by Union General Butler in New Orleans, the child toured through the North with other people emancipated from enslavement to raise funds for the schools of Louisiana for the formerly enslaved established by Philip Bacon, Assistant Superintendent of Freedmen. Huger, daughter of her enslaver, was one of three touring children denied entrance to a Philadelphia hotel in December 1863., Title from item., Photographer's imprint stamped on verso., Copyrighted by Rob[er]t R. Corson, State Military Agent for Philadelphia during the Civil War, and later, Corresponding Secretary for the Pennsylvania branch of the American Freedmen's Union Commission., Stamped on verso: The nett proceeds from the sale of these Photographs will be devoted to the education of Colored people in the department of the Gulf, now under the command of Maj. Gen'l Banks., Manuscript note on verso: Rebecca Euge 10., Gift of Marguerite S. Brenner., See Harper's weekly, January 30, 1864, p. 71., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., 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
M'Clees, Jas. E. (James E.), photographer
Date
1863
Location
Library Company of Philadelphia | Print Department cdv portraits - sitter - Huger [P.9057.81]
Pocket-size volume of decals of vignette maps of French cities, territories, colonies, and provinces during the antebellum period. Decals also include illustrations symbolic of the environment, culture, and economy of the depicted regions. Maps include (Afrique) Ile Bourbon, i.e., Réunion; Department de la Course, i.e., Corsica; Department de la Seine, i.e., Paris; Amerique Guadeloupe; Nle Caledonie/Iles de la Societe, i.e., New Caledonia/Society Islands; Algerie; (Amerique) La Martinique; (Afrique) Mayotte, Nossi-Be, St. Marie/Senegal; and Algerie (Afrique) Prov. De. D’Oran, i.e., Oran Province. Illustrations depict ethnic stereotypes and racist caricatures showing Africans, including an enslaved man from Ile Bourbon and Algerians; a Guadeloupean white plantation owner; a Corsican woman; sacks, crates, and barrels of foods and spices, including cacao, coffee, canella, cotton, sugar, indigo, and nutmeg; and native flora and fauna, including trees, grasses, a turtle, bird, elephant, and alligator. Vignettes also show a portrait of Napoleon; Paris architecture; ships and boats; and huts and a tent., Title from item., Date inferred from era of production of miniature decals and cover design., Front cover illustrated with a clown figure holding a trumpet to his mouth in one hand and tugging his hat with the other., Printed on back cover: Directions for fixing transfers. Take the picture, put it into luke-warm water for a quarter of a minute, pres the picture-side firmly on the object you wish to decorate, and draw gently the paper away. the fixed picture can be varnished, which makas [sic] it finer and secure against water and dust., Purchased with the Davida T. Deutsch African American History Fund., RVCDC, Description revised 2021., Access points revised 2021.
Date
[ca. 1880]
Location
Library Company of Philadelphia | Print Department ephemera - Misc. [P.2014.17.3]
Full-length, abolitionist portrait of the propagandized fair-skinned child emancipated from enslavement, Rebecca Huger. Depicts Huger, attired in a long-sleeved dress with decorative stripes, standing between scenery props of a stone window adorned with ivy and a full-length mirror, which reflects her profile. Freed by Union General Butler in New Orleans, the child toured through the North with other people emancipated from enslavement to raise funds for the schools of Louisiana for the formerly enslaved established by Philip Bacon, Assistant Superintendent of Freedmen. Huger, daughter of her enslaver, was one of three touring children denied entrance to a Philadelphia hotel in December 1863., Title from item., Attributed to Charles Paxson., Date from copyright information and content. Copyrighted by S. Tackaberry., Distributor's imprint stamped on verso: N.B. - All orders must be addressed to H.N. Bent, [National Freedman's Relief Association], Box 809, P.O. Boston, Mass., Stamped on verso: The nett proceeds from the sale of these Photographs will be devoted to the education of Colored people in the department of the Gulf, now under the command of Major General Banks., Contains cancelled 2 cents revenue stamp on verso., See Harper's weekly, January 30, 1864, p. 71. (LCP **Per H, 1864)., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., 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.
Creator
Paxson, Chas. (Charles), -1880, photographer
Date
1864
Location
Library Company of Philadelphia | Print Department cdv portraits - Huger (sitter) [P.9971]
Oval bust length calligraphic portrait of Abraham Lincoln formed from the words of the Emancipation Proclamation., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1865 by W.H. Pratt in the Clerk's Office of the Dist. Court of the U.S. for the Dist. of Iowa., Pratt taught penmanship in both private and public schools in Davenport, Iowa. Pratt executed a similar calligraphic portrait of Lincoln in German and a calligraphic portrait of George Washington., LCP copy trimmed., Purchase 1998., 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
Pratt, W. H. (William Henry), 1822-1893, lithographer
Date
1865
Location
Library Company of Philadelphia | Print Department *GC - Lincoln [P.9626]
Contains a line of text from the Koran written in a courtly hand by an enslaved, educated, black Islamic priest. Translated text reads: In the name of God, Most Gracious, Most Merciful Say: He is Allah, the One and Only! Allah, the Eternal, Absolut; He begetteth not nor is He begotten. And there is none like unto Him., Title from LCP exhibition catalogue: Pierre Eugene Du Simitière. His American Museum 200 years after, entry #5:21., Date from manuscript note on recto: the above was written in my presence by a negro m[a]nding[o] at Leoganne in January 1773 DuSimitiere., Du Simitière, a Swiss-born historian, antiquarian, and artist, traveled and documented North America and the West Indies from the 1750s to 1770s. He settled in Philadelphia in 1774, and in 1782 opened the American Museum, which contained his collected antiquities., Purchase at auction, Du Simitière's American Museum, March 10, 1785., Explanation of translation in Du Simitière research file, Graphic Arts Department., 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
[Léogâne, Haiti]
Location
Library Company of Philadelphia | Print Department Du Simitière Collection [961.F.5d]
Abolitionist portrait of the propagandized fair-skinned child emancipated from enslavement, Rebecca Huger. Depicts a bust-length portrait of Huger attired in a crocheted jacket and bonnet. Freed by Union General Butler in New Orleans, the child toured through the North with other people emancipated from enslavement to raise funds for the schools of Louisiana for the formerly enslaved established by Philip Bacon, Assistant Superintendent of Freedmen. Huger, daughter of her enslaver, was one of three touring children denied entrance to a Philadelphia hotel in December 1863., Title from item., Date from copyright information and content., Distributor's imprint printed on verso: N.B. - All orders must be addressed to H.N. Bent, [National Freedman's Relief Association], Box 809, P.O. Boston, Mass., Printed on verso: The nett proceeds from the sale of these Photographs will be devoted to the education of Colored people in the department of the Gulf, now under the command of Major General Banks., See Harper's weekly, January 30, 1864, p. 71. (LCP **Per H, 1864)., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., Created postfreeze., Purchase 2005., 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
Paxson, Chas. (Charles), -1880, photographer
Date
1864
Location
Library Company of Philadelphia | Print Department cdv portraits - sitter - Huger [P.2005.22.1]
Abolitionist portrait of the propagandized fair-skinned child emancipated from enslavement, Charles Taylor. Freed by Union General Butler in New Orleans, the child toured through the North with other people emancipated from enslavement to raise funds for schools of Louisiana for the formerly enslaved established by Philip Bacon, Assistant Superintendent of Freedmen. Taylor, son of his enslaver, was one of three touring children denied entrance to a Philadelphia hotel in December 1863., Probably by Philadelphia photographer James E. McClees., Title from item., Date inferred from content., In McAllister scrapbook of Civil War Portraits. (LCP Print Room (1)Uy 5 5775.F.15). McAllister Collection, gift, 1886., See Harper's weekly, January 30, 1864, p. 71. (LCP **Per H, 1864)., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., 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
[1863]
Location
Library Company of Philadelphia | Print Department Civil War Portrait Scrapbook album [(1)Uy 5 5775.F.15]
Album belonging to Mary Anne Dickerson, a young middle-class African American Philadelphian, possibly created as a pedagogical exercise, with contributions dating from 1833 until 1882. Contains engraved plates depicting scenic views, and original and transcribed poems, prose, essays, and drawings on topics including friendship, motherhood, mortality, youth, death, flowers, female beauty, and refinement. Also contains a one page record of family deaths, marriages, and births with entries up to the birth of Mary Anne's grandson in 1882. Identified contributors are mainly Black elite scholars active in the African American anti-slavery and cultural communities of mid-19th century Philadelphia, New York, and Boston., Contains the following contributions: "The Mother's Joy," a poem by C.F., possibly by abolitionist and second wife of entrepreneur James Forten, Charlotte Vandine Forten; illustration after "The Boroom Slave" and the poem, "To the Album," by artist and activist Robert Douglass; prose, "To Mary Ann", about living a happy life by Philadelphian anti-slavery activist Amy Matilda Cassey; a memorial, "To My Dear Willie," by Mary Anne to her deceased son, William Jones; poem, "The Night of Death," by J.A.J., Mary Anne's husband, John A. Jones; Boston author and civil rights activist William C. Nell's transcription of the poem, "The Rights of Women"; allegorical prose on the meaning of life by New York abolitionist Harriet Forten Purvis; transcription of the poem, "The Pearl Diver," by white Philadelphian anti-slavery activist Arnold Buffum; prose to "Mary Annie" about remembrance by Ada, possibly by anti-slavery activist Sarah Forten Purvis or educator and anti-slavery activist Ada Howell Hinton; floral drawing by A.H.H., probably by Ada Howell Hinton; prose and floral watercolors by educator, abolitionist, and Quaker Sarah Mapps Douglass, the sister of Robert Douglass; "Lines Addressed to a Wreath of Flowers Designed on a Present for Mary Ann" by E.S. Webb, possibly Elizabeth Susan Webb, sister of novelist Frank J. Webb; and prose by Mary Anne about mortality. Additional entries of prose and poetry by John G. Dutton, E.S. Webb, Lydia A.B., Henrietta, W.F.P, and S.L.C., unattributed entry, "To Esther," and unattributed entry of a floral watercolor. Also contains engraved plates by A.B. Durand, C. Fielding, C.G. Childs, Robert Walter Weir, James Smillie and Thomas Cole entitled respectively, "Falls of the Sawkill"; "Italy, The Bay of Naples"; "Weehawken"; "Delaware Water Gap"; "Catskill Mountains"; "Fort Putnam"; and "Winnipiseogee Lake"., Title supplied by cataloguer., Inclusive range of dates inferred from entries inscribed with dates., Contains engraved illustrated title page: Album. The Mother's Joy., Blank album published in New York in 1833 by J.C. Ricker., Embossed and gilt morocco binding., Release of Dower document dated 1838 giving the Dickerson home to the surviving children, contemporary unidentified newspaper clippings, manuscript poetry transcriptions, contemporary greeting cards, trade card, and other miscellaneous loose items removed and housed separately., Lib. Company. Annual Report, 1993, p. 17-25., Research file available at repository., RVCDC, Description revised 2022., Access points revised 2022., Dickerson, a pupil of African American educator Sarah Mapps Douglass, was the daughter of African American activists, Martin and Adelia Dickerson, and step-father Samuel Van Brackle.
Creator
Dickerson, Mary Anne, 1822-1858
Date
[ca. 1833-ca. 1882]
Location
Library Company of Philadelphia | Print Department Mary Anne Dickerson album [13860.Q]
Emancipation print contrasting African American life during and after slavery. Central scene portrays the interior of a free person’s home where several generations of the family socialize around a "Union" stove as the mother cooks. The horrors of slavery are depicted through scenes of the flogging, branding, selling, and capturing of enslaved people. The forthcoming results of freedom are depicted through scenes of the exterior of a free person’s cottage, African American children attending public school, and African Americans receiving payment for their work. Also depicted are: a baby angel freeing the shackles of a kneeling enslaved man as the angel, who has the year 1863 above his head, is held by Father Time; Thomas Crawford’s statue of freedom; and the hellhound Cerberus fleeing liberty., Title from item., Originally published in Harper's weekly, January 24, 1863., Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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., Nast was a cartoonist and illustrator most known for his work for the 19th-century periodical "Harper's Weekly."
Creator
Nast, Thomas, 1840-1902, artist
Date
1865
Location
Library Company of Philadelphia | Print Department *Political Cartoons - 1865-3 variant [(10)1540.F]
Emancipation print contrasting African American life during and after slavery. Central scene portrays the interior of a free person's home where several generations of the family socialize around a "Union" stove as the mother cooks. The horrors of slavery are depicted through scenes of the flogging, branding, selling, and capturing of enslaved people. The forthcoming results of freedom are depicted through scenes of the exterior of a free person's cottage, African American children attending public school, and African Americans receiving payment for their work. Also depicted are: a baby angel freeing the shackles of a kneeling enslaved man as the angel is held under the year 1863 by Father Time; Thomas Crawford's statue of freedom; and the hellhound Cerberus fleeing liberty. The Great Central or Sanitary Fair of 1864 was organized by the Philadelphia division of the United States Sanitary Commission to raise money for their soldier relief organization. Although emancipation was a popular theme of the fair, African Americans were excluded from the exhibition., Title from item., Date inferred from content., Inscribed: Price [Fif?]ty Cents., Originally published in "Harper's weekly," January 24, 1863., LCP exhibition catalogue: African American Miscellany, p. 22., Accessioned 1987., 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
Nast, Thomas, 1840-1902, artist
Date
[1864]
Location
Library Company of Philadelphia | Print Department *Political Cartoons - 1865-3a variant [P.9177.30]
Print commemorating Great Britain's passage of legislation, given royal assent in 1834, granting emancipation to the enslaved throughout Great Britain and the British colonies. Depicts near a coast, a joyous free Black man, attired in a sarong, arms held up in celebration. He stands upon a whip surrounded by smiling Black men who bury his shackles; a Black girl who kneels before him; and a Black mother, seated on a bench beside a book, smiles and holds her baby up in the air. Next to them an "Emancipation Notice" has been tacked to a palm tree. In the background, Black people celebrate on the shore as a ship sails away., Title from item., Text printed below title: A glorious and happy era on the first of August, bursts upon the Western World; England strikes the manacle from the slave, and bids the bond go free., Purchase 1969., 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
Lucas, David, 1802-1881, engraver
Date
August 1, 1834
Location
Library Company of Philadelphia | Print Department *GC-Emancipation [7808.F]
Print of a scene from Stowe's popular, anti-slavery novel, "Uncle Tom's Cabin," originally published in 1851. Depicts "Uncle Tom," an enslaved African American man, and Evangeline St. Claire, the white daughter of a Louisiana enslaver, meeting on the steamship that is taking him to auction. On the deck, Tom, barefoot and attired in a red shirt, blue pants, and with shackles on his wrists, sits on a crate with a Bible in his lap. He talks to an attentive Eva, with her brown hair in ringlets and attired in a pink dress and black shoes, who is seated on a bundle of goods. Three bare-chested, enslaved African American men stand in the background behind a bundle and look on., Title from item., Purchase 1970., 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
Strong, Thomas W., lithographer
Date
[ca. 1853]
Location
Library Company of Philadelphia | Print Department *GC - Fictional characters [7869.F]
Print of a scene from Stowe's popular, anti-slavery novel, "Uncle Tom's Cabin," originally published in 1851. Depicts Little Eva, the "angelic" young, white daughter of a Louisiana enslaver informing "Uncle Tom," the African American man enslaved by her father, of her impending death. Eva, with her blonde hair in ringlets and attired in a white dress, white stockings, and black shoes, points to heaven with her right hand and to the Bible in her lap with her left. She sits next to a barefooted, slightly hunched over Tom, attired in a red shirt with an open neck and blue pants, on a grassy mound in the woods. Also includes a cabin visible in the left background., Title from item., The Kellogg's firm, brothers Edmund Burke and Elijah Chapman, was a prolific New England lithographic firm that nearly rivaled Currier & Ives in the production of popular prints., Reaccessioned as P.9179.10., Purchase 1969., 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.
Date
[ca. 1853]
Location
Library Company of Philadelphia | Print Department *GC-Fictional Characters [7807.F]
Cartoon evoking the Declaration of Independence to promote the emancipation from enslavement. Depicts rays of light representing God above a soaring American eagle that clutches olive and oak branches and two American flags labelled "All Men are Created Equal" and "Stand by the Declaration." Suspended from the flags is a large basket in which an African American man and a white man are seated. The African American man drops his broken shackles out of the basket as the abolitionist proclaims "Break Every Yoke; Let the Oppressed Go Free" to a large crowd of men, women, and children cheering below. Among the crowd is a white man Union soldier; a white newsboy selling the "Herald," an abolition newspaper; and a free African American man. Verses of text appear atop the rays of light and beside the basket espousing the religious, moral, and historical justifications for emancipation., Title from item., Date from copyright statement., Purchase 1968., Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Dominique C. Fabronius was a respected Belgian born lithographer, watercolorist, and portraitist who worked in Philadelphia, Boston, and New York.
Creator
Fabronius, Dominique, artist
Date
1861
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1861-41 [7700.F]
Abolitionist portrait of the propagandized fair-skinned child emancipated from enslavement, Rosina Downs, attired in a hat, a pleated dress with stripes at the bottom, and a dark-colored cape. Freed by Union General Butler in New Orleans, the child toured through the North with other people emancipated from enslavement to raise funds for the Louisiana schools for the formerly enslaved established by Philip Bacon, Assistant Superintendent of Freedmen. Downs, daughter of a multiracial mother and Confederate soldier, was one of three touring children denied entrance to a Philadelphia hotel in December 1863., Title from item., Date inferred from content., Probably by New York photographer, M.H. Kimball., See Harper's weekly, January 30, 1864, p. 71., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., Accessioned 1982., 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- Downs [P.8925.5]
Three-quarter length portrait showing the severely scarred back of the former enslaved and Union soldier, Gordon, taken in Louisiana and sent to the Surgeon General of Massachusetts., Image reproduced as wood engraving with accompanying article in Harper's weekly, July 4, 1863, p. 429. (LCP **Per H, 1863.) Name of photographer supplied by article., Title and publication information supplied by William Darrah's Cartes-de-visite in nineteenth century photography (Gettysburg: William C. Darrah, 1981), p. 148., Manuscript note attributing original publisher on verso of P.8925.4: "Gordon" by C. Seaver, Jr. Seaver, Jr., a Boston photographer, published the carte-de-visite in support of the abolitionist movement., Originally part of a McAllister scrapbook of Civil War Miscellanies [5786.F.157c]. McAllister Collection, gift, 1886. Accessioned 1982 [P.8925.4]., 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
M'Pherson and Oliver, photographer
Date
[ca. 1863]
Location
Library Company of Philadelphia | Print Department cdv portraits - sitter - Gordon [5786.F.157c; P.8925.4]
Exterior view showing the coffee house and merchants' exchange during the colonial era at the southwest corner of Front and Market streets in Philadelphia. An auction of enslaved people occurs outside the coffee house and pedestrians traverse the sidewalks. Partial view of the adjacent printing house of "Pennsylvania Journal" publisher, William Bradford, is visible. Erected in 1702 and established as a coffee house in 1754 by Bradford, the site was a public center for social and economic activities during the later 18th century, including auctions of enslaved people. The building was razed in 1883., Title from item., Published in John F. Watson's Annals of Philadelphia and Pennsylvania, in the olden time:....Embellished with engravings, by T.H. Mumford (Philadelphia, 1844), vol.1 and later editions., After wash study by Edward Mumford., Originally part of McAllister scrapbook of engravings relating to Philadelphia. 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Mumford, Thomas Howland, 1816-, engraver
Date
[ca. 1844]
Location
Library Company of Philadelphia | Print Department Ph Pr - 8x10 - Hotels, Inns, Taverns [(6)1322.F.47a]
Wash study for engraving by Mumford's brother, Thomas Mumford, appearing in several editions of John F. Watson's "Annals of Philadelphia,...with engravings by T.H. Mumford" published by various publishers between 1844 to 1870. Depicts an exterior view of the coffee house and merchants' exchange at the southwest corner of Front and Market streets in colonial Philadelphia. An auction of enslaved people occurs outside the coffee house and pedestrians traverse the sidewalks. Partial view of the adjacent printing house of "Pennsylvania Journal" publisher, William Bradford, is visible. Erected in 1702 and established as a coffee house in 1754 by Bradford, the site was a public center for social and economic activities during the late 18th century, including auctions of enslaved people. The building was razed in 1883., Title from manuscript note on recto., Manuscript note on recto: Original., Accessioned 1982., 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
Mumford, Edward William, 1812-1858, artist
Date
[ca. 1844]
Location
Library Company of Philadelphia | Print Department Drawings & Watercolors-Mumford [P.8757.18]
Proof vignette that was probably to be incorporated into a larger print. Shows a white man plantation owner, seated on a bale of cotton, surrounded by Southern agricultural iconography, including a twig of cotton, a mill building, and Black men laborers, possibly enslaved men, picking in a cotton field near a docked side-wheel paddle steamer. A horse-drawn wagon by a line of people is visible at the dock. Contains registration marks and a color mark., Title supplied by cataloger., Gift of David Doret, 2007., 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
[ca. 1860 - ca. 1870]
Location
Library Company of Philadelphia | Print Department GC-Allegories [P.2007.39.25]
Series of exterior and interior views of the Germantown estate Cliveden built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. Benjamin Chew (1722-1820), the patriarch of an influential Quaker family, was one of Pennsylvania’s largest enslavers. Images depict front, front oblique, and "rear" views of the façade of the residence, including outbuildings and landscaped lawns and grounds; the front "doorway" with steps and sculptures; the "pump" near an ivy-covered wall; the "barn" near which a horse-drawn cart loaded with hay rests across from a cow out to pasture; a cracked "fireback" resting against a tree; "servant’s quarters," i.e. quarters for enslaved persons; and multiple views of the "hall at Cliveden" modestly furnished with chairs, a desk, side table, a long rifle, and framed prints and a painting. Hall views also depict columns fronting a hallway and stairway., 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., Series title from manuscript note on mounts., Date from title., Many of the images accompanied by captions written on the mounts., Two of the mounts (P.2017.88.4.2-5 and P.2017.88.4.6-9) contain manuscript note: Cliveden 11-7-1911., Verso of mount P.2017.88.44.1 contains manuscript note: New York Public Library 1911., Copies of images included in “Pictorial Archives of Early American Architecture” (PAEAA), PAEAA PA 51-Germ, 64D-1, assembled by the Library of Congress during the 1930s., Three of images (P.2017.88.4& 7 &11) published in Harry M. Tinkom, Margaret Tinkom and Grant Miles Simon, Historic Germantown: ... (Philadelphia: American Philosophical Society, 1955)., RVCDC, Description revised 2022., Access points revised 2022.
Date
1911
Location
Library Company of Philadelphia | Print Department Swayne Collection [P.2017.88.4.1-13]
Full-length portrait of the acclaimed girl emancipated from enslavement. Depicts Lawrence, attired in a lavish off-the-shoulder dress, seated, and holding a hat adorned with a ribbon and feathers in her lap. She is posed next to a basket and in front of a maritime backdrop. An outstretched drape covers her seat., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1863, by C. S. Lawrence, in the Clerk's Office of the District Court of the United States, for the Southern District of New York., Purchase 2014., Description revised 2021., Access points revised 2021., See Kathleen Collin, "Portraits of slave children," History of photography 9 (July-September, 1985), p. 187-210.
Creator
Black, James Wallace, 1825-1896, photographer
Date
[ca. 1863]
Location
Library Company of Philadelphia | Print Department cdv portraits - sitter - Lawrence [P.2014.13]
Full-length portrait of the acclaimed girl emancipated from enslavement. Freed in Virginia by military nurse Catherine S. Lawrence, Fannie was publicized as the "redeemed slave child" baptized by Henry Ward Beecher at age five at Plymouth Church in Brooklyn in May 1863. Depicts Lawrence, dressed in a fancy hat and cape, leaning against a balustrade., Probably by Boston photographer James Wallace Black., Title from manuscript note on verso., Dated based on the presented age of the sitter., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September, 1985), p. 187-210., Purchase 1987., 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 - Lawrence [P.9194]
Abolitionist cartoon depicting enslaved African Americans fleeing to Fort Monroe, which was occupied by Union General Benjamin F. Butler who had declared freedom seekers to be "contraband" of war. In the right, a white man Virginia enslaver brandishes a whip and says, "come back you black rascal." A bare-chested, barefooted, African American man attired in white shorts, responds in the vernacular, "can't come back nohow massa Dis chile's contraban." To the right of the enslaver, a barefooted African American man, attired in a brimmed hat, a white collared shirt, and striped pants with the cuffs rolled up, watches as he leans on a hoe. A number of other African American freedom seekers run toward the Fort, including a woman with a child., Title from item., Date of publication supplied by Weitenkampf., During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Purchase 1986., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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
[1861]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1861-3W [P.9127]
Racist cartoon reflecting the Northern fear that Britain's economic ties with Southern cotton growers would cause the British government to relinquish its abolitionist stance in order to support the Confederacy. Depicts a plump John Bull, representing Great Britain, centered between a kneeling enslaved African American man and a bale of cotton in a storage shed. Bull touches the hair of the African American man with his right hand and holds a piece of the cotton from the bale in the other. He declares, "it is certain that Cotton is more useful to me than Wool!!" In the left background, two African American men stand and cry. In the right background, a Southern white man plantation owner looks on and smiles., Title from item., Date inferred from content., Possible publisher supplied by Murrell., McAllister Collection, gift, 1886., 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
Currier & Ives
Date
[1861]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1861-40R [5780.Fa]
Cartoon mocking Southern secessionists who sought foreign aid for the Southern Confederacy by depicting white men emissaries from the "Gentlemen colony of South Carolina" asking Queen Victoria if she can spare a King. The South Carolinians stand before the throne and present bales of “Cotton” to the Queen. Behind them a contingent of enslaved African American children, portrayed as racist caricatures, carry an umbrella, a fan, a serving tray of “julips,” and hold the tail of the emissary’s jacket. In the right, Queen Victoria sits on her throne surrounded by white boys and flanked by a lion and a unicorn. She responds that her family is small but possibly a "Coburg" relation may satisfy their needs., Title from item., Publication date supplied by Weitenkampf., Text printed below image: May it please Your Majesty, We, the Republicans of the Gentlemen Colony of South Carolina are desirous of having a Royal Master; would You graciously please to spare us a King out of your illustrious house? Her Majesty. Thank you Gentlemen, but my Family is small, you know; -- perhaps one of my Coburg Relations may accommodate you, I can recommend them, they give Satisfaction in every Place., Accessioned 1899., 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.
Date
[1860]
Location
Library Company of Philadelphia | Print Department political cartoons - 1860-6W [5780.F]
View of the diorama with mannequin figures and a painted backdrop exhibited during the Centennial Exhibition of 1876 recreating a scene from the Battle at Yorktown in October 1781. Shows troops marching and parading before officers, including Washington, on horseback. An African American man stands beside a horse, who is possibly a portrayal of Washington's enslaved valet William Lee. The diorama by Colonel F. Lienard was displayed within a skating rink at Twenty-Third and Chestnut Streets. Figures of Generals Lafayette and Rochambeau were also portrayed., Title from item., Publisher's imprint printed on verso., Buff mount with rounded corners., 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., See "Washington at Yorktown," Philadelphia inquirer, December 13, 1875., See related print [Philadelphia roller skating rink, Twenty-third and Chestnut Streets, Philadelphia] (trade card - Philadelphia [P.9839])., Purchase 2001.
Creator
Centennial Photographic Co.
Date
Centennial Photographic Company
Location
Library Company of Philadelphia | Print Department stereo - Centennial Photographic Company [P.9982.2]
Ticket to the "Grand Mass Demonstration in favor of the Centennial Commemoration of American Independence, February 22, 1873" at the Academy of Music containing scenes contrasting life in Philadelphia in 1776 with life in 1876. Scene of 1776 shows white men colonists, including one attired as a backwoodsman, in front of a log cabin and standing near a barefooted, enslaved African American man, attired in torn and worn clothing, sitting on a pile of sticks. Scene of 1876 shows a white man soldier talking to a white man artisan near an African American man laborer seated next to an anvil and machinery gears. Cityscape is visible in the background. Also includes an eagle holding an American flag crest adorned with a portrait of Washington. Contains text printed on the verso soliciting subscriptions to make the Centennial a success as well as to make Pennsylvania the representative to the world of the "power of the Republic.", Title from item., Originally part of a McAllister scrapbook of Centennial and Columbian Exposition views. McAllister Collection, gift, 1886., 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.
Date
[1873]
Location
Library Company of Philadelphia | Print Department Ph Pr -8 x 10 - Events [5758.F.26c]
Full-length portrait of John Richardson Primrose Bobey, a young Black man with the pigmentation disorder vitiligo, born enslaved in Jamaica, and inspected and exhibited as a specimen of science throughout England. Shows the young man standing on a shoreline. He stands with palm trees in the distance. He is dressed in a loincloth knotted on his left hip and adorned with tassels. White patches are visible on his legs, torso, and down the center of his head. In his right hand, he holds up a captioned portrait broadside of himself as a boy and points to it with his left hand bent at the elbow and from in front of his waist. The broadside depicts the very young Bobey with primarily white skin above text reading "A Child born at Gros Islet, in the Island of St. Lucia, of Black Parents, Taken from a model of the infant colored from nature," and at the museum of T. Pole, Surgeon, Grace Church, in London." In adulthood in London, Bobey advocated for his freedom from enslavement and was a proprietor of a menagerie and a member of several societies, including the Free Masons., Title from item., Manuscript note on recto: Presented T. Pole Surgeon, London, to the Library of Philadelphia., Publication information inferred from broadside illustrated in image and address of London publishers Wm. Darton & Jos. Harvey., Noted in LCP Minutes, v. 3, p. 230-231., Biographies of sitter in Karl Pearson, A monograph on Albinism (London: Cambridge University Press, 1911-1913) and William Granger, The new wonderful museum, and extraordinary magazine: ... (London: Printed for R.S. Kirby, 1804), v. 2, p. 711-714., Pole, a Philadelphia-born Quaker physician, was also an artist who illustrated his own text "An Anatomical Instructor, an Illustration of the Modern and Most Approved Methods of Preparing and Preserving the Different Parts of the Human Body, and of Quadrupeds, by Injection, Corrosion, ... (London, 1790)., 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., Descripton revised 2021., Access points revised 2021., Gift of Thomas Pole, 1790., RVCDC
Date
[ca. 1789]
Location
Library Company of Philadelphia | PRINT. *portrait prints - Primrose [901.F.27]
Emancipation print depicting a series of scenes contrasting African American life during and after slavery. Central scene portrays the interior of a free person's home where several generations of the family socialize around a "Union" stove as the mother cooks. Below this scene is a portrait of Lincoln and above it a depiction of Thomas Crawford's statue of freedom, as well as the hell hound Cerberus fleeing Liberty. Scenes to the right display the horrors of slavery including the flogging, branding, selling, and capturing of enslaved people. Scenes to the left display the forthcoming results of freedom including the exterior of a free person's cottage, African American children attending public school, and African Americans receiving payment for their work., Title from item., Date from copyright statement: Entered according to Act of Congress, in the year 1865, by J.W. Umpehent, in the Clerk's Office of the District Court of the United States, for the Eastern District of Pennsylvania., Originally published in Harper's weekly, January 24, 1863., McAllister Collection, gift, 1886., Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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., Nast was a cartoonist and illustrator most known for his work for the 19th-century periodical "Harper's Weekly."
Creator
Nast, Thomas, 1840-1902, artist
Date
1865
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1865-3R [5792.F]
Copy photograph of an abolitionist satire containing a montage of scenes mocking the pro-slavery dioceses from the seceded Southern states absent from the General Convention of the Protestant Episcopal Church in New York in 1862. Probably related to an earlier pamphlet of the same title satirically "promoting" the policy that the church's African American communicants be treated as the South treats the enslaved people. A devilish figure with wings inscribed with the names of Confederate states, holding a "Testimonial" scroll under his arm, thumbs his nose and unlocks the door of the "House of Bishops" at the "General Convention." Figures pray at an altar near an animated preacher while stating, "We welcome our friends." A white man whips a bare-chested and bare-footed African American enslaved man, who kneels with his hands bound to a post. Two white women watch the events from the side of their dilapidated wooden house. During the Civil War, the Southern dioceses became the Protestant Episcopal Church in the Confederate States of America., Title from item., Date inferred from content., See related pamphlet Negroes and religion: The church at the South. Memorial to the general convention of the Protestant Episcopal Church in the United States of America. (United States : s.n., 1856?). (LCP Am 1856 Neg 18399.O.9)., Originally part of a McAllister Civil War scrapbook of humorous prints and photographs. McAllister Collection, gift, 1886 [5780.F.52h]. Purchase 1999 [P.9758.3]., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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. 1862?]
Location
Library Company of Philadelphia | Print Department cdv - misc. - Civil War - Caricatures and cartoons [5780.F.52h; P.9758.3]
Satiric print mocking the decadent state of West Indian plantation society containing five vignettes, one with text, depicting slothful white enslavers being lavishly catered to by Black and multiracial enslaved people. Vignettes include: "A West India Nabob" (i.e., man of wealth) as he lounges on his couch, attired in a wide brimmed hat, surrounded by his entourage of enslaved women; enslaved men being used as a "Portable Boot Jack" by their white man enslaver; the white women enslaver showing "Creolean Patience" as she waits for her enslaved marketing person to be told by her enslaved attendant to pick up her nearby fallen needle; the white women enslaver telling "Quashebah come and take my Head in again" from her open window; and a white man enslaver enjoying "One of the Luxuries" of slavery as enslaved women simultaneously comb his hair, wash his feet, fan him, and serve him goblets of wine., Title from item., Described in David Kunzle's The Early comic strip: Narrative strips and picture stories in the European broad sheet from c. 1450 to 1825 (Berkeley: University of California Press, 1973), p. 374-5., Lib. Company. Annual Report, 2000, p. 37-38., Purchase 2000., 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
April 1808
Location
Library Company of Philadelphia | Print Department Political cartoons - 1808-Wes [9455.F]
Abolitionist group portrait of the propagandized fair-skinned children emancipated from enslavement, Rosina Downs, Charles Taylor, and Rebecca Huger. Shows the children, who were freed in New Orleans by General Benjamin Butler, side-by-side, draped in a large American flag. The children, touring the North with a group of people emancipated from enslavement to raise funds for the Louisiana schools for the formerly enslaved established by Assistant Superintendent of Freedmen, Phillip Bacon, were also publicized as the children denied entrance in December 1863 to the Philadelphia hotel, the St. Lawrence., Title from item., Date from copyright information. Copyrighted by S. Tackaberry., Photographer's imprint stamped on verso., Distributor's imprint stamped on verso: N.B.-All orders must be addressed to H.N. Bent, [National Freedmen's Relief Association], No. 1 Mercer Street, New York., Stamped on verso: No. 9., Stamped on verso: The nett proceeds from the sale of these Photographs will be devoted to the education of Colored People in the department of the Gulf, now under the command of Maj. Gen'l Banks., See Harper's weekly, January 30, 1864, p. 71. (LCP **Per H, 1864)., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., Purchase 2000., 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
Paxson, Chas. (Charles), -1880, photographer
Date
1864
Location
Library Company of Philadelphia | Print Department cdv portraits-group-Emancipated Enslaved Children [P.9846]
Print of a scene from Stowe's popular, anti-slavery novel, "Uncle Tom's Cabin," originally published in 1851. Depicts the character Eliza, an African American woman freedom seeker, escaping from Kentucky to Ohio across the icy Ohio River. Eliza, depicted barefoot and with a light skin tone, clutches her son Harry to her breast and straddles two blocks of ice as she looks behind her at the irate white man enslaver on the shore near the tavern from which she has fled., Title from item., Purchase 1997., 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., Stong was a prolific New York mid 19th-century lithographer, wood engraver, and publisher who mainly published stock prints.
Creator
Strong, Thomas W., lithographer
Date
[ca. 1853]
Location
Library Company of Philadelphia | Print Department *GC - Fictional Characters [P.9524.2]
Abolitionist print depicting a group of enslaved African American people about to whip their white plantation overseer, who has been bound to a tree on the plantation grounds. Before the plantation overseer, the African American man holds the whip and pulls up his sleeve as the enslaved man next to him takes of his hat in a mock gesture of respect. Smiling men, women, and children of all ages stand, sit, and lean on a fence, surrounding the overseer in anticipation of his whipping., Title from item., First published in New York Illustrated news, November 28, 1863 (LCP **Per D 8.5, 1863). Later published as a loose print by the African American press, Robert and Thomas Hamilton, possibly the first Black press to publish separate prints., LCP exhibition catalogue: African American Miscellany p. 38., Originally part of a McAllister scrapbook of Civil War caricatures and photographs. 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
[1863]
Location
Library Company of Philadelphia | Print Department *GC-Slavery [5780.F]
Critique of the social climate of the year of 1855 mocking several of the year's fads, social movements, and major events, many specific to the city of Philadelphia. Depicts several individual scenes occurring on an active street lined by businesses near a river. Depictions include: a scene representing the case of Jane Johnson, an African American woman freedom seeker aided by abolitionist Passmore Williamson; a group of ragged and armed white men filibusters holding the banner "Sam" rushing off to free Central America from European control; a stand where one is "allowed to drink 48 glasses of Lager Beer" where a white man police officer tries to stop a white man drunkard; a group of white women Mormons on a cart headed to "Salt Lake City"; a white man hugging two white women as his angry wife looks on and calls them "Ceresco free-lovers" after the Utopian society that lasted until 1855; two motley groups of local militias drilling; a caricature of the popular French actress Rachel who had an inauspicious debut in Philadelphia; and groups of individuals partaking of "water cures" and "sea baths." In the background the Camden Amboy train crash of 1855 is depicted as well as the destruction by fire of the Philadelphia steamer "John Stevens.", Title from item., Date inferred from content., Accessioned 1998., 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.
Date
[1855?]
Location
Library Company of Philadelphia | Print Department Political Cartoons - 1855-Fol [P.9624]
Print predicting the Union's triumph over the Confederacy using an allegory of "Humanitas" (i.e., Humanity) depicted as a white woman holding a child astride an eagle, reaching to save a shackled African American held on the ground by the evil "King Cotton." From a break in the clouds an apparition appears behind "Humanitas," including "Freedom" depicted as a woman wearing a crown of feathers holding a large American flag and a Liberty cap; "Christianity" depicted as a white woman holding a bible; "Justitia" depicted as a white woman holding scales; George Washington; Thomas Jefferson; and Benjamin Franklin. The oppressed enslaved person reaches up as "King Cotton," portrayed with an alligator head with a body composed of a bale of cotton with a holster of pistols, raises his hands in horror as the eagle clutches his cloak and shoots lightning bolts at his throne. To his right a column labeled "Lecompton", "Fugitive Slave," and "Missouri Compromise" is set aflame from the lightning. In the left, the "Hydra of Discord" accompanied by a hound "Fugitive Slave Law," a group of white men enslavers, and a Spaniard, who drops a package marked "Cuba $50,000,000," flee from the vision to the sea where a boat of enslaved African American men are docked. Contains eighteen lines of verse from Lord Byron's 1813 poem "The Giaour" below the image., Title from item., Date of publication supplied by Reilly., Per Reilly, published key to print exists., Copyright statement: Entered according to act of Congress in the year 1861 by M. H. Traubel, in the Clerks Office of the District Court for the Eastern District of Penna., Accessioned 1999., Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., 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
1861
Location
Library Company of Philadelphia | Print Department *political cartoons - 1862-15 [P.9654]
Commemorative print after Thomas Sully's 1819 painting "Washington's Passage of the Delaware." Depicts General Washington astride his horse atop the barren bank of the Delaware River. He tips his hat and acknowledges his troops below, who cross the river by barge. To the left of Washington, white men soldiers move a cannon. In the right are several soldiers on horseback, including Prince Whipple, enslaved African American man and bodyguard to Washington Aide, General William Whipple., Title based on item., Original painting in the collections of The Museum of Fine Arts, Boston, Massachusetts., Retrospective conversion record: original entry, edited., For a description of the original painting, see the broadside Passage of the Delaware by Thomas Sully. (LCP sm #Am 1820 Sul, 6658.F)., Accessioned 1987., 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
Gimbrede, Joseph Napoleon, 1820-, engraver
Date
[1861]
Location
Library Company of Philadelphia | Print Department *GC - American Revolution [P.9179.9]
View of the Philadelphia building decorated in celebration of the military progress of African American troops and the abolition of slavery in Maryland on Nov. 1, 1864. A gaslight sign on top of the building declares, "God Save the Republic." A large transparency of vignettes with mottoes and quotes supporting emancipation covers the front of the building including a representation of the symbolic Federal Arch, a battle scene with African American soldiers, an auction of enslaved people, and an African American mother sending her child to school. The bottom of the transparency announces, "Emancipation Proclaimed," and contains portraits of President Lincoln, Vice-President Johnson, and prominent abolitionists, as well as words of appreciation for prominent Union Generals including Grant. A sign for the "Free Military School" to train commanders of "Colored Troops" is visible in the doorway., Title supplied by cataloger., Date inferred from content., Reproduced in Kenneth Finkel's, Nineteenth century photography in Philadelphia. (New York: Dover Publications Inc., 1980), plate 176., LCP holds related broadside: "Emancipation in Maryland" (#Am 1864 Phi Sup (6)5777.F.40b)., 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[1864]
Location
Library Company of Philadelphia | Print Department photos - unidentified - Events [(6)5777.F.40a]
Collection of twelve titled album (carte-de-visite size) cards depicting the evolution of the life of an African American man from enslavement to a Union soldier. "In the Cotton field" and "The Christmas Week" show his life on the plantation from which he is sold and separated from his family in "The Sale" and "The Parting: 'Buy us too'." His new enslaver whips him in "The Lash," for which he then retaliates in "Blow for Blow." He hides "In the Swamp" and is finally "Free!" to become a Union soldier and "Stand up a Man" to fight in the battlefield to "Make Way for Liberty!" He is struck down in "Victory!" for Liberty, depicted as a white woman, who states as she mourns over his body, "He Died for Me!", Title from series title., Publication information inferred from copyright statement: Entered according to the act of the year 1863 by William A. Stephens in the Clerks' Office of the Dist. Court of the U.S. for the E. Dist. of Pa., Attributed to James Fuller Queen after Henry Louis Stephens., Henry Louis Stephens was a native Philadelphia caricaturist, book, and magazine illustrator who worked in New York in the mid-19th century for the periodical "Frank Leslie's." His brother William Allen Stephens served as his business manager., Described in Gathering history: The Marian S. Carson Collection of Americana. (Washington, DC: Library of Congress, 1999), p. 26., Original wrapper for the card set held in the collections of the Library of Congress, Washington, D.C. [LOT 5174], Originally part of a McAllister scrapbook of humorous caricatures and photographs. McAllister Collection, gift, 1886., Copyright by William A. Stephens, 1120 Girard Avenue, Philadelphia., Description revised 2023., Access points revised 2023., Queen, a Philadelphia lithographer and pioneer chromolithographer known for his attention to detail, served in the Civil War militia from 1862 until 1863, and created several lithographs with Civil War subjects.
Creator
Queen, James Fuller, 1820 or 21-1886, artist
Date
1863
Location
Library Company of Philadelphia | Print Department Henry Louis Stephens Collection [(5)5780.F.56m-p; (5)5780.F.57a-h]
Print commemorating the Emancipation Proclamation containing a bust-length portrait of Abraham Lincoln and two abolitionist vignettes above text from the Proclamation. In the center, Lincoln, attired in a white collared shirt, a black bowtie, waistcoat, and jacket, faces slightly right and is bordered by an American eagle clutching an olive branch and arrows in front of a backdrop of American flags. To the left and right of the portrait are scenes of an auction of enslaved people, with an African American woman, and free African American men working in a carpentry shop. Below the scenes, two African American cherubs hold a banner inscribed, "By the President of the United States of America." Below the text, an allegorical vignette contrasts the productive North with the destitute South depicting a white woman crying, surrounded by her children, sitting underneath a tree., Title from item., Date from copyright statement., Purchase 1972., 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., J. Mayer & Company, the Boston lithography firm established by John Julius Mayer in 1862, specialized in practical lithography. Despite the official firm name, John Mayer had no partners.
Creator
J. Mayer & Co., lithographer
Date
1865
Location
Library Company of Philadelphia | Print Department **GC - Emancipation [8025.F.4]
Civil War recruitment print targeting African Americans by evoking the freedoms granted by the Emancipation Proclamation. Depicts a montage of symbolic scenes centered around an African American Union soldier triumphantly holding up a sword and an American flag with the banner "Freedom to the Slave." He stands near broken shackles upon a tri-color flag adorned with a coiled snake. The flag is tugged upon by one of three joyous African Americans freed from enslavement by an African American soldier. Other scenes depict an African American man reading a newspaper on a rocking chair near a plow and child, African American children entering a "Public School" near a church, and a regiment of "U.S. Colored Troops" marching across a battlefield strewn with dead bodies., Title printed on verso., Text of the "Original Version of the John Brown Song" by H.H. Brownell printed on verso., Described in LCP exhibition catalogue: Negro History, entry #139., Originally part of a McAllister scrapbook of Civil War miscellany [(2)5786.F.107b]. Transferred from #Am 1863 All (2)5786.F.107b. McAllister Collection, gift, 1886. Accessioned 1987 [P.9179.44], 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
[1863]
Location
Library Company of Philadelphia | Print Department GC - Emancipation [P.9179.44; (2)5786.F.107b]
Proslavery print depicting an enslaved African American family hiding their white man enslaver in their cabin from a Union search party on horseback. The enslaver, holding a pistol, hides behind the open door from which the mother, her chair turned over behind her, misdirects the search party down the road. Near the hearth, an older son holds a skillet defensively as a younger petrified sibling holds unto him for protection., Inscribed upper left corner: 12., Issued as plate 12 in Sketches from the Civil War in North America (London [i.e., Baltimore]: [the author], 1863-1864), a series of pro-Confederacy cartoons drawn and published by Baltimore cartoonist Adalbert John Volck under the pseudonym V. Blada. The "first issue" of 10 prints (numbered 1, 2, 5, 6, 7, 12, 15, 16, 21, 24), with imprint "London, 1863" were printed as etchings. The remaining 20 prints (numbered 4, 8, 9-11, 14, 17-20, 23, 25-27, 29, 30, 32, 33, 40, 45) headed "Second and third issues of V. Blada's war sketches" and dated "London, July 30, 1864" were printed as lithographs., Title and publication information from series at Brown University Library., Research file about artist available at repository., Accessioned 1935., 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
Volck, Adalbert John, 1828-1912, artist
Date
[1863]
Location
Library Company of Philadelphia | Print Department Volck - Sketches - Volck 12 [2990.F.3]
Abolitionist allegorical book illustration juxtaposing a coffle of enslaved Black men and boys standing before the ruins of "a monument to liberty," the United States Capitol, following the British occupation of the city during the War of 1812. Author suggests that the destruction of the Capitol was a sign of divine displeasure to promote the abolition of slavery. In the foreground, two white men enslavers lead shackled men and boys pass the ruin. Two allegorical white female figures, one of Liberty, hover in the clouds above. Enslaved people were traded in Washington, D.C. and used in the reconstruction of the Capitol., Title from item., Frontispiece from Jessey Torrey, Jr.'s, A Portraiture of domestic slavery in the United States (1817)., Torrey was a Philadelphia physician, abolitionist, and author of tracts on morals and the diffusion of knowledge., Originally part of a McAllister scrapbook of views of the District of Columbia. 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator
Lawson, Alexander, 1773-1846, engraver
Date
1817
Location
Library Company of Philadelphia | Print Department GC - Government Buildings - Washington, D.C. [5740.F.9b], http://www.lcpimages.org/afro-americana/F181.htm
Abolitionist group portrait of the propagandized fair-skinned children emancipated from enslavement, Rebecca Huger, Charles Taylor, and Rosina Downs, denied entrance to the hotel in December 1863 during a fundraising tour of the North. Touring on behalf of the Louisiana schools for the formerly enslaved established by Assistant Superintendent of Freedmen, Phillip Bacon, the rebuffed children were accepted at the Continental Hotel. Revenue from the sale of the portrait was to be donated to the education of emancipated enslaved people in the Department of the Gulf., Title from item., Date based on content., Name of photographer from duplicate photograph., See Harper's weekly, January 30, 1864, p. 71. (LCP **Per H, 1864)., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 1985), p. 187-210., Originally part of a McAllister scrapbook. 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.
Creator
M'Clees, Jas. E. (James E.), photographer
Date
[1863]
Location
Library Company of Philadelphia | Print Department cdv portraits- group- Emancipated enslaved children [5775.F.68]
