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Title: Life in New York. "Shall I hab the honour of glanting...?"
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing tan pantaloons, a brown waistcoat, a high neck collar, and blue cravat, stands with his left foot pointed, and slightly bows. He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a pink gown with puffed sleeves and a lace collar, a wide-brimmed hat with pink and yellow ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, striped, tan trousers, a blue waistcoat, a large pink tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in brown hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1971.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [7993.F.2]

Title: Life in New York. "Shall I hab the honour of glanting...?"
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing tan pantaloons, a brown waistcoat, a high neck collar, and blue cravat, stands with his left foot pointed, and slightly bows. He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a pink gown with puffed sleeves and a lace collar, a wide-brimmed hat with pink and yellow ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, striped, tan trousers, a blue waistcoat, a large pink tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their skin tone is depicted in brown hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1971.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [7993.F.2]

Title: Life in New York. The rivals
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing light blue pantaloons, a blue waistcoat, a high neck collar, and cravat, stands with his left foot pointed, and slightly bows, He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a yellow gown with puffed sleeves and a lace collar, a wide-brimmed hat with ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, white trousers, a green waistcoat, a large blue tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their 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 dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Charles Ingrey was a premier London lithographic printer of the 1830s., Shane White and Graham White's Stylin': African American Expressive Culture...(Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1968.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [7701.F]

Title: Life in New York. The rivals
Description: Racist and sexist caricature depicting two African American dandies attempting to attain a date with "Miss Dinah" who stands between them on a New York street. In the left, "Mr. Sancho", wearing light blue pantaloons, a blue waistcoat, a high neck collar, and cravat, stands with his left foot pointed, and slightly bows, He holds his top hat in his left, ungloved hand and his removed glove in his right, gloved hand. He asks “Miss Dinah” to "squeze the brupt inbitation" and go to the Battery with him. "Miss Dinah," dressed in a yellow gown with puffed sleeves and a lace collar, a wide-brimmed hat with ribbons, feathers, and a veil, as well as gloves, has her head turned to him and informs him that she has a "privyous gagement to Mr. Romio." She also holds a closed fan in her right hand. In the right, "Mr. Romio," dressed in a black top hat, white trousers, a green waistcoat, a large blue tie, and with a monocle hanging from his neck, stands slightly bowed, and responds that as he has been standing there for three hours he hopes that she will not break her "gagemen" to him. The figures are portrayed with oversize features and their 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 dialect and the vernacular below the image: Shall I hab the honour of glanting you to the battery, this afternoon, Miss Dinah? Hope you’ll squeeze the brupt inbitation/O you allready squeezed, Mr. Sancho, only, I made a privyous gagement to Mr. Romio/hope you not going to break your gagemen, to me, I hab been standing here, for three hours., Charles Ingrey was a premier London lithographic printer of the 1830s., Shane White and Graham White's Stylin': African American Expressive Culture...(Ithaca: Cornell University Press, 1998), p. 95. (LCP Ii 4, A2880.O)., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1968.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [7701.F]

Title: Life in New York
Description: Collection of primarily racist social caricatures lampooning the etiquette and conventions of early 19th-century, middle-class New Yorkers, particularly the growing community of free African American persons. Eliciting the heightened racism in the antebellum North, the African American men, women, and children characters are depicted with exaggerated features, wearing boldly-patterned and colored clothes, and speaking in a vernacular to be portrayed and denigrated as illegitimate elite society. Caricatures also address “rules” of courtship, fashion, classism, and a dance lesson. Some caricatures also represent the sexism and ethnic divisions of the era., Influenced by the "Life in Philadelphia" series of 1828-1830, the series consists of at least eight prints published around 1830 by eminent New York lithographer Anthony Imbert. Although often attributed to Edward W. Clay, the different styles of the caricatures imply that the prints were executed by various artists employed by Imbert. The African American caricature, "A Five Points Exclusive," a lithograph published in the early 1830s by John Pendleton, an associate of Imbert, has been included as a part of the series., Serie title from items., Dates inferred from content and names of publishers., Original series contained at least eight prints., LCP holds four of the series. Three are first editions., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 93-95. (LCP Print Room Yz, A423.O), 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., RVCDC, Description revised 2022., Access points revised 2022.
Date: 1830-ca. 1834, bulk 1830
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set)

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: Life in New York. My name is Antonio Ceasa de Wilson..."
Description: Racist and sexist caricature exploiting a documented assault case reported as a lampoon in the September 30, 1829 edition of the "Morning Courier and New York Enquirer" about two African American men in an altercation over the intentions and handkerchief of "Miss Minta." In front of the left side of a police station counter attended by seven white men, "Antonio Cesea de Wilson" is being held back by his coat lapel by a white older man. The older man, attired in a waist coat and pantaloons, has a slight frown. Wilson, portrayed with wide, round eyes and a plain expression, and attired in a cravat, shirt, waistcoat, vest, and pants, stands with his feet apart and his left arm outstretched and his hand in a fist as his other arm is pulled back. He explains to the police how he came to the tussle with "Massa Sambo." On the right side of the counter, "Massa Sambo," portrayed with a plain expression, and attired in a ruffled shirt, cravat, waistcoat, and stirrup pants, stands and gestures behind him to Miss Minta." She holds a closed fan up in one hand and a parasol to the ground with the other. She is portrayed with a plain expression and wears her hair in a top knot and is attired in a long-sleeved, double-skirted dress with a check pattern and lace details, stockings, and slip on shoes. She looks in the direction of “Massa Sambo.” He explains that he is the receiver of the handkerchief and her rightful suitor. He has not only received her "witching glance" but has given her several gifts, including a lock of hair. The men, congregated behind the station's counter, include the magistrate recording the testimonies. The men are attired in waistcoats, shirts, and cravats. Many of the men laugh and, in the right, one reads a paper near shelves of ledgers. The African American figures are portrayed with oversize features., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular below the image: My name is Antonio Ceasa de Wilson, I have been paying a visit to Miss Araminta Arabella Tomson in de oyster cellar where she live, Where Massa Sambo come in and say “You have no business here” so I look at Miss Minta and she say I have, and this gentleman and me have a tussle. The handkerchief is not his, but one Miss Minta made a present of to me.”/I can assure you “that Miss Araminta did give me the witching glance, which told me as plain as eye could speak that I was the more welcome visiter, and as to the handkerchief, it is Miss Minta’s, and I have better right to it than this other gentleman, as I have presented to her, a scissor, a timble, and a lock of my hair.”, Anthony Imbert, a New York artist, was a pioneer of American lithography who was also known for his ability as a marine painter., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Canova, Dominico, artist
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.1]

Title: A five points exclusive taking the first steps towards the Last Polish
Description: Racist caricature depicting a group of middle-class African American women receiving a dance lesson at the "Bon Enfantfile Cross St. Saloon." Shows the four women in a semi-circle, looking at the white dance instructor, “Mr. Boeyfong,” in the right and one woman, in the center, looking at the viewer. Two of the women slightly pull up their skirts, one has her heels together and the other points her right foot. The women wear their hair in top knots, and all but one also wear hair adornments. Three are attired in off the shoulder puffed-sleeved dresses and one woman wears a blue dress with a collar. They all wear jewelry, including earrings and necklaces, as well as ankle-laced shoes and a red ribbon on one leg and a blue ribbon on the other, the latter to aid in the lesson. In the right, “Mr. Boeyfong” stands with his left foot pointed out and holding a violin in one hand and the corresponding bow down toward the foot of the woman across from him. He instructs the pupil to "hold in ze stomach and stick out behind!" He has sideburns and wears his dark hair styled out to the sides. He is attired in a white ruffled shirt, a vest with a floral pattern, a cravat with a floral pattern, a black waistcoat, blue pantaloons, white stockings, and slip on shoes adorned with ribbons. Behind them is a sign with the "Regulations" of the "Saloon" which state that the women must wear the ribbons to distinguish their right foot from their left; they must not come undressed; and they may not have more than ten partners at one time. The women figures are portrayed with oversized features and their skin tone is depicted in brown hand coloring. The man figure is portrayed with muscular physical features and small feet., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in dialect and the vernacular above the image: Allons Mademoiselle raise ze leg wis ze red ribbon so bring him to ze ozer leg wis de blue ribbon, hold up ze head, elevate ze bosom, hold in ze stomach and stick out behind! tres bien ver well-/Now Mr. Boeyfong is dat ‘ere step right?, Contains a caption below the image, a quote from Shakespeare's "Hamlet":” A station like the herald Mercury. New lighted on a heaven kissing hill. -Shakespeare., 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., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9187]

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their 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 dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their 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 dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., 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., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set) [8025.F.2]

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