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Title: ASSU Illustration 8672
Description: Block numbered in one place: 8672., Image of four people in what appears to be a kitchen; a boy or young man stands beside a broken object on the floor and holds a broom; a woman points at either the boy or the object; another young man stands behind the woman; a second woman stands behind her holding something, possibly a plate., Signed: F.E.L.
Date: [s.a.]
Location: ASSU Woodblocks -- Box 16

Title: ASSU Illustration 6007
Description: Block numbered in two places: 6007., Image of a woman who appears to be cooking in a pot over the stove; a cat stands at her feet; four children of varying ages sit at a table with mugs and bowls. Shelves hold plates and mugs., “N.J. Wemmer. 215 Pear St. Phila.” – Back of block. Boxwood dealer Nelson J. Wemmer is listed at this address in Philadelphia city directories from 1861 to 1876., Illustration appears in Child's world, v. 1, no. 10 (May, 1862), p. 5.
Date: [between 1861 and 1876?]
Location: ASSU Woodblocks -- Box 15

Title: ASSU Illustration 7367
Description: Block numbered in two places: 7367., A woman with her hands on her hips and a spoon in one hand faces a girl who sits on a windowsill and rests her feet on a chair; a pot is behind the woman and they appear to be in a kitchen; another woman looks on from a doorway., Signed: Jasper Green, sc. Jasper Green is listed as an engraver in the Philadelphia city directory for 1872., “N.J. Wemmer & Son. 215 Pear St. Phila.” – Back of block. Boxwood dealer Nelson J. Wemmer is listed at this address in Philadelphia city directories from 1861 to 1876., “Ruth Allerton Pag [?]” – Inscribed on back of block., Illustration appears in Ruth Allerton, the missionary’s daughter, frontispiece.
Date: [1872?]
Location: ASSU Woodblocks -- Box 18

Title: The delusion
Description: Genre scene in a semi-dilapidated setting showing an older couple and younger couple near a stove covered in pots and a kitchen table adorned with a bottle, pitcher, and cup. The older woman sits near the table and sews as her husband sleeps in a rocker near the stove, with his pipe in his mouth, and a newspaper in his lap. The younger couple stand and cuddle in the background, possibly the "delusion" of the husband., Photographer's imprint printed on verso., Warped pink mount with rounded corners., Negative number printed on mount: 7521., Gift of Jesse Randall., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Kilburn, successor to stereograph publisher Kilburn Brothers in 1877, broadened the firm's portfolio from White Mountain scenery to include genre and comic subjects and international views.
Creator: Kilburn, B. W. (Benjamin West), 1827-1909
Date: c1892
Location: Library Company of Philadelphia | Print Department stereo - Kilburn - Genre [P.2005.19.7]

Title: ASSU Illustration 6146
Description: Block numbered in two places: 6146, also 1321 on small adhesive label on back of block., Image of a woman and a girl standing beside a chair pulled out from a table in what appears to be a kitchen; the woman holds one hand palm-up toward the girl, and the girl holds both hands in front of her., “N.J. Wemmer 215 Pear St. Phila” – Back of block in two places. Boxwood dealer Nelson J. Wemmer is listed at this address in Philadelphia city directories from 1861 to 1876.
Date: [between 1861 and 1876?]
Location: ASSU Woodblocks -- Box 27

Title: When a man's married his trouble begins
Description: Comic genre photograph set in a kitchen, showing a family gathered around, as the father, with soot all over his face, tries to fix a problem with the stove. His wife stands nearby and holds a flue pipe and their daughter kneels near the stove and watches her parents., Additional places of publication printed on mount, including Chicago; London; Hamberg, Ger.; and Milan, Italy., Title printed on mount., Publisher's imprint printed on mount., Distributor's imprint printed on mount., Gray curved mount with rounded corners., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of Col. Gatter.
Date: c1901
Location: Library Company of Philadelphia | Print Department stereo - Griffith & Griffith - Portraits and genre [P.9319.5]

Title: "Be patient, dear; don't swear."
Description: Comic genre photograph set in a kitchen, showing a man who has just fallen off of the stool he was standing on as he tried to fix the stove. His wife and daughter reach to help him up., Additional places of publication printed on mount, including Chicago; London; Hamberg, Ger.; and Milan, Italy., Title printed on mount., Publisher's imprint printed on mount., Distributor's imprint printed on mount., Gray curved mount with rounded corners., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of Col. Gatter.
Date: c1901
Location: Library Company of Philadelphia | Print Department stereo - Griffith & Griffith - Portraits and genre [P.9319.4]

Title: Kitchen courtship
Description: Comic genre photograph showing a courtship scene in a kitchen with a woman seated on chair next to a man in uniform, holding a bottle of liquor and a glass., Title from photographer's manuscript note on verso., Photographer's label pasted on verso., Yellow mount with rounded corners., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of Ms. Jane Carson James.
Creator: Cremer, James, 1821-1893
Date: [ca. 1868]
Location: Library Company of Philadelphia | Print Department stereo - Cremer - Genre [P.9299.14]

Title: Kitchen fireplace in old Morris House at Cedar Grove
Description: Glass negative showing a view of the kitchen at the old Morris family home, Cedar Grove, with a large fireplace. A row of clothes irons sits on the mantle and a wooden chair sits to the right of the fireplace. The wall behind the chair is comprised of a series of cabinets with a shelf holding dishware. Built by Elizabeth Coates Paschall in 1748-1750, Cedar Grove was a summer retreat and home for the Paschall-Morris family into the nineteenth century. The last family owner, Marriott Morris' second cousin once removed, Lydia Thompson Morris, lived in the house from 1869 to 1888. In 1926 she donated the house to the Fairmount Park Commission, when it was dismantled and moved from its original Frankford location to Fairmount Park., Photographer remarks: Overtimed., Time: 3:30, Light: sun out some, Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: October 22, 1887
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.9895.1244]

Title: Another view of the old fireplace [in old Morris house at Cedar Grove]
Description: Glass negative showing a view of the kitchen at the old Morris family home, Cedar Grove, with a large fireplace. A row of clothes irons sits on the mantle and a wooden chair sits to the right of the fireplace. A bucket of firewood rests beneath a small oven to the left of the fire. Built by Elizabeth Coates Paschall in 1748-1750, Cedar Grove was a summer retreat and home for the Paschall-Morris family into the nineteenth century. The last family owner, Marriott Morris' second cousin once removed, Lydia Thompson Morris, lived in the house from 1869 to 1888. In 1926 she donated the house to the Fairmount Park Commission, when it was dismantled and moved from its original Frankford location to Fairmount Park., Photographer remarks: Overtimed., Time: 4:05, Light: Sun out some., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: October 22, 1887
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.9895.1245]

Title: Mr. & Mrs. Turtledove's new French cook
Description: Series of titled comic genre photographs include "Mr. & Mrs. Turtledove's new French cook," "You sweet thing, when did you arrive?" "Now don't be so shy!" "Oh my, but you are lovely," "Sh! Sh! I hear my wife coming," "Heavens, what does she mean," "Well, I am caught sure enough," "She must leave this house at once," "Mr. Turtledove trying to get out of the difficulty," "Mr. Turtledove making promises to be good," "Darling, I love you more than ever," and " Mr. & Mrs. Turtledove's next "French" cook." Images depict a straying husband's relationship with the pretty French cook, his wife's discovery of the relationship, and his attempts and success at reconciling with his wife. The pretty female cook is eventually replaced by an unattractive "French" cook, represented by a man dressed as a woman., Series copyrighted 1902 by William H. Rau., Title supplied by cataloger., Publisher's imprint printed on mounts., Gray curved mounts with rounded corners., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Rau, William Herman, 1855-1920, photographer
Date: c1902
Location: Library Company of Philadelphia | Print Department stereo - Rau - Portraits & genre [P.9872.1-12]

Title: Views of the House of Refuge, Philadelphia
Description: Views show the House of Refuge site that opened in 1850 between Parrish and Brown Streets between Twenty-second and Twenty-fourth Streets. Exterior views depict the front lawn of the White Boys Department, designed by John McArthur, Jr., facing west and south, showing men and women standing, sitting, and lying on the landscaped lawn near the ivy-covered building. Views includes dogs, flower beds and planters. Another view shows boys in uniform belonging to the drum and flute corps of the brass band standing on the entrance stairs to the five-bay, ivy-covered White Boys Department. Men and boys are visible in the windows on the first floor. Interior views of the White Boys Department depict rows of single beds in the dormitory, the stark wide hallway of the "B" division, the kitchen, and the dining room with long rows of tables covered with place settings in preparation for a meal., Photographer's imprint on versos in decorative font. Includes vignette of painting palette with brushes extending through the hole., Descriptions of images written in manuscript notes on versos., Yellow curved mounts with rounded corners., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: Chillman, P. E. (Philip Edward), 1841-1915
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department stereo - Chillman - Prisons [P.9523.1-7]

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

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

Title: Fairbank's rock cordials, positive cure for all lung disorders
Description: Trade card promoting Fisher and Fairbanks' patent medicine Fairbanks' Rock Cordials and depicting a racist caricature of an African American man chef in the galley of ship. Shows the man portrayed with exaggerated features and attired in a white chef's hat; a white shirt with the sleeves rolled up to his elbows; a red vest with gold buttons; a white apron; blue pants; and black shoes. He stands holding a spoon in his right hand and with his left hand holds a bowl that is filled with an unidentifiable pink food over a barrel that is being used as a table. He smiles and looks to a blond-haired white girl in the right attired in a pink hat; a black choker; a red dress; a white pinafore; white stockings with red stripes; and black shoes. She carries a doll costumed in a matching outfit and leans to look at the chef mixing. In the foreground on the floor are a pan, a pot with a bowl on top of it, and a spoon. In the background is a stove with a steaming kettle on it and a large chain. In the right, there is a barrel and next to it is a doorway through which we can see a sailor attired in a brimmed hat, a blue jacket, and pants. He stands on the side of the ship and looks through a telescope at the water., Title from item., Date deduced from history of the advertised business., Gift of David Doret.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Fairbanks [P.2017.95.62]

Title: Dixon's carburet of iron stove polish
Description: Series of trade cards promoting Joseph Dixon Crucible Company's stove polish and depicting a racist caricature of an African American woman nanny at work. Shows the nanny smiling, holding, and scrubbing an unclothed white girl, who is coated in black stove polish along her right side. The long, brown haired girl wears a red headband and is partially covered by a white cloth draped around by the nanny. The nanny uses a scrub brush under the right arm of the girl. The girl stands, her right leg raised, upon a table covered with a yellow tablecloth and stained by the polish. She looks down and touches the nanny's face with her right hand. She places her left hand over the woman's hand on her left side. The nanny is attired in a white head kerchief with red polka dots; a yellow short-sleeved shirt with red stripes; and a blue skirt. On the table is a plate; a brush; and boxes labeled Dixon's Stove Polish. Image also includes, in the left background, a stove with a steaming copper kettle and a partial view of a stove pipe and checkered flooring. The Joseph Dixon Crucible Company, established by Joseph Dixon in Salem, Mass. in 1827, produced graphite pencils, crucibles and stove polish, and relocated to Jersey City, N.J. in 1847. In 1868, the firm name changed from Joseph Dixon & Co. to the Jos. Dixon Crucible Co. In 1870 the firm won a trademark case against a Philadelphia competitor selling J.C. Dixon Stove Polish., Title from item, Printers and engravers include Major & Knapp Engraving, Manufacturing & Lithographic Co. (New York) and A. Gast & Co. (New York and St. Louis)., Advertising text printed on verso: Advertising text printed on verso: Established 1827. Dixon's stove polish; over fifty years in the market. Neat; quick; brilliant, and lasting. No dust. No odor. Nothing will make a stove so bright and cheerful for so long a time as the Dixon stove polish. It is by far the cheapest in use, in the long run. Buy it. Try it. Take no other. Pressed into a neat quarter-pound packet, absolutely free of adulteration. Six millions sold in 1880. Jos. Dixon Crucible Co., Jersey City, N.J., Gift of Emily Phillips, 1883. Purchase 1998., RVCDC, Description revised 2021., Access points revised 2021., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date: [ca. 1885]
Location: Library Company of Philadelphia | Print Department trade card - Dixon [1975.F.235; P.9577.14; P.9599]

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

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

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

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