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Title: O, could I weave a mystic charm
Description: The valentine shows a portrait of a young woman clasping her hands together next to her face. Inscribed: Louisville Feb. 1851., Text: O, could I weave a mystic charm / All evil influence to disarm -- / The coming sorrow I'd destroy, / And turn all bitterness to joy; / My life for thine I'd gladly yield / And with my own, thy bosom shield., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [1851?]

Title: A Valentine
Description: The handwritten note has a border with cherubs, grotesques, regal figures, and flowers., [illegible], Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: [Marriage certificate]
Description: Marriage certificate illustrated with an ornate border containing a romantic scene. Scene shows a couple, accompanied by the female allegorical figure Love, sailing in a gondola. Love holds an arrow and torch and the gondola is adorned with a garland of flowers. Border also includes flowers, vinery, doves, the Bible, and clasped hands over the Biblical quote "What God hath joined together let not man put asunder, Matth. XIX.6.", Title supplied by cataloguer., Copyrighted by J.R. Jones in Washington, D.C., Not in Wainwright., Issued to Mr. Daniel S. Schaeffer of Fleetwood Berks co. Pa. and Miss Mary F. Potteiger of Jefferson Twp. Berks Co. Pa. on September 4, 1875. Signed by Rev. Thomas Calvin Leinbach of Womelsdorf. Witnessed by Adam N. Potteiger and Adam S. bright., Philadelphia on Stone, POSP 144
Date: c1870
Location: Library Company of Philadelphia | Books & Other Texts | Rare 14342.Q [Roughwood]

Title: A model love-letter To Miss [blank] The great love that I have hitherto expressed for you
Description: "The reader, after perusing this ingenious little letter, will please read it again, commencing on the first line, and then the third and fifth, and so continue, reading each alternate line to the end." When following these instructions, the text begins: The great love I have hitherto expressed for you increases daily. ..., Printed area measures 21.6 x 14.3 cm., Text within ornamental border (De Marsan comic heads border. Cf. Wolf, E. Amer. song sheets, border S)., Henry De Marsan is listed at 54 Chatham Street in New York City directories for 1861 through 1863., Digitized by Alexander Street Press for Images of the American Civil War.
Date: [between 1861 and 1863]
Location: Library Company of Philadelphia | Books & Other Texts | Rare sm # Am 1861 Model 14553.Q (Roughwood)

Title: Cold Water Cure for Bleeding Hearts.
Description: A washerwoman stands next to a bucket of "bleeding hearts" and pins hearts onto a clothes-line. Her dress billows up in the back. Behind her is a tub labeled "cold water" and a container labeled "soft soap." The valentine references the water cure movement. The border features a woman embracing a man; the pair resemble Commedia dell'arte characters. At the bottom is a pack of matches marked "Lucifer's matches.", Text: Ho! all ye lovers pale and wan, / Who of your bleeding hearts complain, / For you my trade I carry on / And from soiled hearts remove each stain. / Come one, come all!-- hearts smoothed and pressed / And safely folded in the Chest., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: Your Own Portrait.
Description: A woman has a large, heart-shaped torso labelled "Poor man's plaster," "fly blister," and "mustard." She holds a bottle marked "Soothing syrup." The border shows cupids and hearts; one cupid shoots a heart out of a thimble cannon labeled "Love"; another cupid travels with a heart in a hot-air balloon; and another cupid hammers at a cracked heart below a heart on a fishhook labeled "Caught.", Text: Ever crying, dying, sighing, / O'er affections trifled with, / Here's a nostrum worth your trying, / It is one containing pith. / Pour a pint of Bourbon whisky / O'rr your lacerated heart, / If it doesn't make you frisky / Certainly 't will make you Smart!, Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: Forsaken Woman.
Description: A woman cries and sits with her elbows on a table. The final line of the text is a popular saying., Text: Why so pensive, dear? wipe those tears from thy eyes, / Throw care to the winds, and look gay, as you ought; / Remember this motto, that there is, my dear, / "As good fish in the sea, as ever was caught.", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: Revengeful Lady.
Description: A woman wears a shawl around her shoulders and a black hood on her head., Text: Your angry vengeful mien, / Surely bodes some ill; / I hope you have not loved -- / Not wisely-- but, too well., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: The love drop
Description: Racist, card depicting a genre scene of an African American woman fortune teller with three white women clients. Shows the elderly African American woman, attired in a red head kerchief, spectacles, a yellow shawl, a long-sleeved white dress, and a white apron, sitting on a green, wooden chair and tea reading. She pours tea out of a cup, and it drips into a small bottle. A saucer is on the floor below. The illustration’s title, “The Love Drop” refers to a tea leaf reader’s term for the last drop that falls from the cup, which would supposedly provide a glimpse into affairs of love. In the right, three young white women look on at the fortune teller. The blond-haired white woman, attired in a hat decorated with flowers and a long-sleeved pink dress with black decorative ribbons, sits on the floor on a rug with her parasol next to her. To her right, seated on a wooden chair, the brown-haired woman, attired in a hat decorated with a black ribbon and red flowers and a yellow dress with black lace accents, leans forward holding her parasol in both hands underneath her chin. Sitting on the chair’s right armrest, the blond-haired woman, attired in a green dress decorated with black ribbons, looks on. Behind the women is an open hearth with a black pot hanging above the fire. A clothesline of laundry hangs in front of the hearth. In the left is a table with a red tablecloth and a shelf above it that has a copper coffeepot and plate. There are cups and saucers on the floor and a round container possibly of red knitting. A chair is visible in the far right., Title from item., Text printed on recto: The Love Drop. From Painting by Harry Roseland., Publication information and date from the copyright statement: Copyright 1903 by Harry Roseland., Gift of David Doret.
Date: 1903
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Greeting Cards, etc. - Love [P.2017.95.249]

Title: [The love drop]
Description: Racist post card depicting a genre scene of an African American woman fortune teller with three white women clients. Shows the elderly African American woman, attired in a red head kerchief, spectacles, a yellow shawl, a long-sleeved white dress, and a white apron, sitting on a green, wooden chair and tea reading. She pours tea out of a cup, and it drips into a small bottle. A saucer is on the floor below. The illustration’s title, “The Love Drop” refers to a tea leaf reader’s term for the last drop that falls from the cup, which would supposedly provide a glimpse into affairs of love. In the right, three young white women look on at the fortune teller. The blond-haired white woman, attired in a hat decorated with flowers and a long-sleeved pink dress with black decorative ribbons, sits on the floor on a rug with her parasol next to her. To her right, seated on a wooden chair, the brown-haired woman, attired in a hat decorated with a black ribbon and red flowers and a yellow dress with black lace accents, leans forward holding her parasol in both hands underneath her chin. Sitting on the chair’s right armrest, the blond-haired woman, attired in a green dress decorated with black ribbons, looks on. Behind the women is an open hearth with a black pot hanging above the fire. A clothesline of laundry hangs in front of the hearth. In the left is a table with a red tablecloth and a shelf above it that has a copper coffeepot and plate. There are cups and saucers on the floor and a round container possibly of red knitting. A chair is visible in the far right., Title supplied by cataloger based on P.2017.95.249., Date inferred by the date of the original painting., Text printed on verso: Post card. This side for address only. Place stamp here. United States, Cuba, Canada and Mexico one cent. Foreign two cents., Gift of David Doret.
Date: [ca. 1903]
Location: Library Company of Philadelphia | Print Department Goldman Trade Card Collection - Greeting Cards, etc. - Love [P.2017.95.249a]

Title: Independent Order of Odd Fellows [membership certificate]
Description: Membership certificate for members of the Independent Order of Odd Fellows containing a decorative border of Gothic elements and emblems, vignettes, and scenes representing the degrees, tenants, and activities of the benevolent organization. Scenes show odd fellows assisting the indisposed and enfeebled, tutoring children, and assisting in a burial. Vignettes depict emblems of the five degrees that include the fache, globe, a bee hive, coats of arms, columns, Bible, Moses's rod, the dove, the brazen serpent, skull and cross bones, the moon, the sun, a cornucopia and scale. Also contains the female allegorical figures "Friendship, Love, and Truth" with a small child; the all Seeing Eye below the motto "In God We Trust"; and the seal of the Odd Fellows. Seal includes the motto "Relieve the Distressed, Bury the Dead and Educate the Orphan. We Command You to Visit the Sick." and is bordered by cherub figures., Not in Wainwright., Issued to Thomas Butler, Decatur Lodge No. 33 on June 1, 1859. Signed Wm M. Main, N[oble] G[rand] and Sam E. Crap Sect., Philadelphia on Stone, POSP 116, Historical Society of Pennsylvania: Certificates - Independent
Date: [c1857]
Location: Historical Society of Pennsylvania HSP Certificates - Independent

Title: The Young Mother.
Description: A woman holds out her infant and smiles. The infant holds a knife and a doll., Text: From early dawn, you love to walk, / And play, and prattle baby talk; / You think that never other lady, / Had half so nice a little baby., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Date: [between 1840 and 1880?]

Title: Sabbath School Handkerchief
Description: Decorative handkerchief with three hymns, the first with music, Sabbath School Hymn; We Never Part From Thee; The Golden Rule. Decorative border with a pattern of leaves encircling the text. Image of a Sunday school teacher and children at the top along with open books. Stamped, Boston Chemical Printing Company, at the bottom. Printed within the circle, “Sabbath Schools first instituted by Robert Raikes in Gloucester, Eng. A.D. 1782.”, Sabbath school hymn; first line: Where do children love to go. We never part from Thee; first line: God, who dwellest every where. The Golden rule; first line: Love God with all your soul and strength., Bequest of S. Robert Teitelman, 2009.
Creator: Boston Chemical Printing Company
Date: after 1834
Location: OBJ 897

Title: The black Republicans at their devotions
Description: Cartoon exploiting the stereotypes of the factions comprising the recently formed antislavery political party, the Republicans, before the Presidential Election of 1856. Depicts a meeting of the party members singing "Du da, du da." In the left is a white man, attired in a brimmed hat, a white collared shirt, a white waistcoat, and a black jacket and carrying a paper that reads, “Bobtail Hoss.” He represents a "puritanical bigot" abolitionist “who goes strongly in favor of stealing negroes.” In the center is a white man, attired in a white collared shirt, a black bowtie, a black waistcoat, and a black jacket, who is a "disciple of Free Love and Fremont" (i.e., John C. Fremont, the Republican presidential nominee). In the right, is a white man, wearing long hair and a beard and attired in spectacles, a ruffled, white collar shirt with a brooch, and a black jacket, who represents the "long bearded spiritualist." In the left foreground is an African American man, portrayed in racist caricature, who remarks in the vernacular, “Mass mos’ as good as brudder Bones.” In the background, more people sing “Du da,” including a woman, attired in spectacles, and described as “a hooked nosed, masculine crocodile, who is descanting upon woman’s rights and niggers’ wrongs.” Also visible is a statue of a man holding a staff atop a pedestal labeled “Du da.”, Title from item., Date inferred from content., Text printed on recto, below image: “The Mustang colt is young and strong, Du da du da; His wind is good, his knees not sprung, Du da du da da!” The artist has given in this group a representative of nearly all the isms that go to make up the pie-bald conglomeration of which the Black Republican party is composed. Here is the long-bearded spiritualist, who, like his candidate, has more hair than brains; then we have the genuine Aminidab Sleek, or the true disciple of Free Love and Fremont; then there is the sour, morose, puritanical bigot, who goes strongly in favor of stealing negroes, because their services can be secured at a much lower rate than he would have to pay white men; the darkey, emerging from below, is grinning with ferocious delight at the ‘Du da du,’ which is to exalt niggers above “sassy white people;” there is a wide and foul-mouthed slang-monger, in the back-ground, who goes in for free discussion on one side; a hooked nosed, masculine crocodile, who is descanting upon woman’s rights and niggers’ wrongs, because he is too lazy to work. There is the picture—look at it. Du da du. Nero fiddled while Rome was burning. Black Republicans sing foolish songs while the glorious fabric which our fathers reared in peril and blood, is dissolving in the fires of fanaticism. They make no appeal to our reason, but to our imagination; the reason and the judgment is not addressed, only our passions and our prejudices. They cannot sing a mere political adventurer into the Presidential chair., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., 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: [1856]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1856-Bla [5760.F.94]

Title: Original & selected poetry &c
Description: Friendship album of Amy Matilda Cassey, a middle-class African American woman active in the antislavery movement and African American cultural community, containing contributions dating from 1833 until 1856. Contains original and transcribed poems, prose, and essays on topics including slavery, womanhood, religion, friendship, female refinement, death, and love. Also contains drawings, watercolors, and gouaches of flowers and a rustic, residential scene, possibly in New York. Contributors, including many women from the antebellum African American elite community, are prestigious reformers and abolitionists active in the anti-slavery, scholarly, educational, and cultural community of the antebellum North, including Philadelphia, New York, Boston, and Baltimore., Contains the following contributions: entry by African American abolitionist Frederick Douglass, dated Philadelphia 1850, about his "coarse" contribution in an album of "refined" entries; an original sonnet, "Fallen Bird," and essay, "The Abolition Cause," by anti-slavery activist, author, and editor, William Lloyd Garrison, dated Philadelphia 1833; floral watercolors and calligraphed poems by Philadelphia Quaker activist, educator, and artist Sarah Mapps Douglass; essay, "Moral Reform," dated Philadelphia 1834, by Harrisburg businessman and activist William Whipper; calligraphed version of Washington Irving's poem, "The Wife," by New York African American engraver Patrick Henry Reason dated New York 1839; poem about "Friendship" dated 1837 by anti-slavery activist Robert Purvis; prose on faith penned in 1853 by women right's activist and abolitionist Lucy Stone;, floral watercolors, poems and prose on friendship, womanhood, abolition, and remembrance by Philadelphia Female Anti-Slavery Society associates Rebecca Buffum, Susan C. Wright, and sisters Hannah L. Stickney and Mary T. Stickney, and sisters Mary Forten (p.10), Margaretta Forten, and Sarah Forten Purvis, as well as their sister-in-law Mary Virginia Wood Forten (p.22); memorials to his deceased wife and daughter by Baltimore African Methodist Episcopal Bishop Daniel Alexander Payne written in 1849; and an essay by abolitionist Reverend Isiah George DeGrasse dated Bridgewater 1836. Additional contributions by Baltimore anti-slavery activist Emily Willson; anti-slavery activists Ann Warren Weston and Elizabeth Le Brun (Stickney) Gunn; Philadelphia barber and activist John Chew; abolitionist James Miller M'Kim; University of Glasgow trained activist James McCune Smith; Boston reformer Wendell Phillips; C.L.R., possibly Charles L. Reason, abolitionist and brother of engraver Patrick Henry Reason; A.W.H., possibly Quaker abolitionist Anna W. Hopper, and E.G., possibly Quaker abolitionist Elizabeth Garrigues., Also includes sketches and a poem by probably Lydia A. Bustill and unattributed watercolors and sketches possibly by Amy Matilda Cassey., Title from item., Inclusive range of dates inferred from entries inscribed with dates., Embossed and gilt morocco binding with blue moiré silk doublures., Lib. Company Annual Report 1998, p. 25-35., Research file available at repository., RVCDC, Description revised 2022., Access points revised 2022., Cassey, an abolitionist, temperance and civil rights activist and founding member of the multiracial Philadelphia Female Anti-Slavery Society and the African American literary and science society, Gilbert Lyceum, was the daughter of New York black community leader, Reverend Peter Williams. She was the wife of Philadelphia businessman and civil rights activist Joseph Cassey, and later married Boston anti-slavery lecturer Charles Lenox Remond.
Creator: Cassey, Amy Matilda, 1808-1856
Date: [ca. 1833-ca. 1856]
Location: Library Company of Philadelphia | Print Department Amy Matilda Cassey album [P.9764]

Title: The great Republican reform party, calling on their candidate
Description: Cartoon lampooning the Republican Party's constituency of radicals and reformers who supported the first Republican presidential candidate, John C. Frémont, in 1856. In the right, Frémont receives his eclectic array of supporters and promises "You shall all have what you desire--and be sure that the glorious principles of popery, Fourier, ism, free love, womans rights, the Maine law, and above all the equality of our colored brethren, shall be maintained, if I get into the Presidential chair." In the left is a white man puritanical reformer calling for the prohibition of tobacco, meat, and alcohol; a white woman suffragist attired in bloomers, smoking a cigarette, and carrying a riding whip; a white man socialist, attired in worn and torn clothing and wanting “an equal division of property”; an older, white woman libertarian espousing free-love as a "Freemounter"; a white, Catholic priest promoting the Pope; and a racist caricature of an African American man, attired in a white collared, ruffled shirt, a black jacket with tails, black pants, and black shoes, carrying a cane who comments in the vernacular, "De poppylation ob color comes in first--arter dat, you may do wot you pleases.", Title from item., Artist and publication information supplied by Weitenkampf., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., 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., Maurer was a French-born painter and lithographer who worked for several years with the New York lithographic firm, Currier & Ives.
Creator: Maurer, Louis, 1832-1932, artist
Date: [1856]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1856-22 [5760.F.100]

Title: Original & selected poetry &c
Description: Album belonging to Martina Dickerson, a young middle-class African American Philadelphian, probably created as a pedagogical exercise, with twenty-two contributions dating from 1840 until around 1846. Contains original and transcribed poems, prose, and essays on topics including love, friendship, sympathy, courage, and female refinement. Also includes drawings, primarily of flowers. Identified contributors are mainly Black elite scholars active in the African American anti-slavery and cultural community of mid-19th century Philadelphia., Contains the following contributions: calligraphed title page by abolitionist James Forten, Jr.; prose on "Literature," "The Album," and "The Year" by entrepeneur and abolitionist James Forten, Sr. or his son, James, Jr.; prose entitled "Perserverance" by tailor, abolitionist, and civil rights activist John C. Bowers; prose, sketches, and watercolors by Quaker abolitionist, educator, and artist, Sarah Mapps Douglass; watercolor and transcribed poem, "The First Steamboat on the Missouri," by Sarah's brother, artist, community activist, and abolitionist, Robert Douglass; essay entitled "Sympathy" by William Douglass, pastor and historian of the St. Thomas Episcopal Church in Philadelphia; transcription from Wordsworth's "Excursion" by educator and anti-slavery activist Charles L. Reason; gouache of a bunch of flowers by A.H.H., probably Ada Howell Hinton, an African American educator and anti-slavery activist; and prose, poems, and gouache by Mary M. MacFarland, V.E. Macarty, Y.J. Grice, Rebecca F. Peterson, H.D. Shorter, C.D.R., and J.F.V., Title from item., Inclusive range of dates inferred from entries inscribed with dates., Embossed and gilt morocco binding., Lithograph title page, "Flowers," containing flower illustration hand-colored with gouache and watercolor., Blank album published in London by Wm. & Hy. Rock., 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, Martina, 1829-1905
Date: [ca. 1840-ca. 1846]
Location: Library Company of Philadelphia | Print Department Martina Dickerson album [13859.Q]

Title: Life in Philadelphia. The lub letter
Description: Racist caricature depicting an African American woman reading a love letter. Depicts "Angelica” seated on a couch across from an end table on which a stationery box, ribbon, and a jar of ink rest as she reads her "billet-doux" addressed to “Miss Lillywhite, Snow Blackfriars." The couch has a wood frame and blue cushions. “Angelica” is attired in a pink cap-sleeved dress with lace details at the bust-line, blue, ankle-laced, slip-on shoes, and jewelry, including a heart-shaped pendant choker necklace, gold drop earrings, and rings. She wears her hair in a top knot and with a hair adornment. In the letter, “Augustus Octavio Whiteman” proclaims he cannot think of anything but her "classic features" and he would be "de Blackest ob villains" if he could see such "lubliness without feeling its influence." Figure of “Angelica” is portrayed with oversized and exaggerated features and her skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in the vernacular in the image: Ah! A billet-doux from my Charming Augustus/ My Fairest Angelica/Dy Slender form and Classic Features hab made sich an impression on my poor heart dat I cannot tink ob anything else. Indeed I must be de Blackest of Villains if I could see sich lubliness widout feeling its Influence as de Song says_”Eye ob fire lips ob Dew” “Cheeks dat shame the roses hue”/Tremain your Adorable Lubber Augustus Octavio Whiteman., Inscribed: No. 4., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.4]

Title: The follies of the age, vive la humbug!!
Description: 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]

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