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Title: The card player Engraved from the original picture in the possession of William J. Hoppin Esq
Description: Genre print showing a card game between a card sharp and an older gentleman traveler in a waiting room. The gamblers sit at a table, under the guise of a young male referee standing and smoking a pipe. The young card player stirs a hot toddy and hides a card under his thigh. The older traveler, his coat on his chair and his hat and umbrella resting beside him, places his hand on a card, and peers past his cheating opponent at a mirror on the wall. The traveler's African American servant sits patiently behind him across from a stove. Debris lays on the floor and several layers of playbills hang on the wall near a pendulum and framed print., After an 1846 painting by Richard Caton Woodville in the collections of the Detroit Institute of Art, Detroit, MI., One of six prints issued in 1850 for the members of the American Art-Union in New York., Gift of David Doret., Hoppin was an Art-Union officer., Described in the Bulletin of the American Art-Union, May 1849, p. 9., 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: Burt, Charles Kennedy, 1823-1892, engraver
Date: [1850]
Location: Library Company of Philadelphia | Print Department *GC - Genre [P.2006.28.24]

Title: Missionary Society of the Evangelical Association of North America [certificate]
Description: Life membership certificate containing a vignette contrasting scenes of apocalyptic doom and religious salvation. Shows to the right an angel trumpeting salvation and wielding the Bible; a white man missionary preaching to a large group of Native Americans; and a converted African family of a man, woman, and child, kneels and reaches toward the winged messenger of God. On the ground are broken chains and swords, and a hut and palm trees are in the background. Opposite the scenes of salvation, a cross rises from the ground, bringing forth a river of redemption too late for the lost souls of a bejeweled "heathen" woman and a skull-headed man entangled by serpents. Behind them a temple, probably the Vatican, collapses to the ground. The Evangelical Association, a Methodist ministry, worked first to convert Native Americans and enslaved people before extending their missions to the Black inhabitants of Liberia in the 1820s., Issued to Peter H. Cage of Catasauqua, Pa. on February 24, 1870. Signed by Thomas Bowman, Secretary; Francis Hoffman, President; and Isaac Hess, Treasurer., Gift of David Doret, 2004., 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: Sartain, John, 1808-1897, engraver
Date: [ca. 1850]
Location: Library Company of Philadelphia | Print Department *Philadelphia certificates - Organizations - M [P.2004.46.1]

Title: The battle ground at Germantown. Cliveden or Chew's House
Description: Periodical illustration depicting the colonial residence built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. On the grounds in the foreground, a white boy stands beside a chair and exchanges a book with an African American man. Benjamin Chew owned property from Delaware to Maryland, including plantations that enslaved people. 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., Title from item., Plate from: Godey's magazine and lady's book, December, 1844. (LCP Per G 43)., Smith, a prominent Philadelphia landscape painter and friend of Godey's publisher, Louis A. Godey, had several of his Philadelphia and Pittsburgh views engraved for the 1844 issues of the periodical. Smith's painting, Chew House, Germantown, is in the collection at the Pennsylvania Academy of the Fine Arts., Originally part of a 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: Dick, Archibald L., approximately 1805-approximately 1855, engraver
Date: [December 1844]
Location: Library Company of Philadelphia | Print Department PhPr - 11x14 - Residences [(7)1322.F.12b]

Title: High Street Prison and Market Shambles
Description: View looking east from above Third and High (Market) streets showing the High Street Prison built circa 1723 and the nearby old market stalls during the colonial era. Shows men in colonial attire walking on the sidewalks and street and two African American men in a stockade and attached to a whipping post near the jail. The prison operated until the early 1770s when replaced by the Walnut Street Prison. The market shambles were replaced by the permanent Jersey Market circa 1765., 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., Originally part of a McAllister scrapbook of views of Philadelphia. McAllister Collection, gift, 1886., Description revised 2021., Access points revised 2021., Retrospective conversion record: original entry, edited., 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: Mumford, Thomas Howland, -1816, engraver
Date: [ca. 1844]
Location: Library Company of Philadelphia | Print Department Pr Pr - 8x10 - Prisons - H [(7)1322.F.231]

Title: John G. Whittier
Description: Bust-length portrait of the poet, abolitionist, journalist, and editor of the abolitionist newspaper, the "Pennsylvania freeman." Whittier, attired in a white collared shirt, a white bowtie, and a black jacket, faces slightly right., Title from printed signature of sitter below image., Printed below image: Truly thy friend, John G. Whittier., Published as frontispiece in John Greenleaf Whittier's Poems (Boston: Benjamin B. Mussey & Co., 1849). (LCP Am 1849 Whi, 12099.O)., 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: Warren, Asa Coolidge, 1819-1904, engraver
Date: [1849]
Location: Library Company of Philadelphia | Print Department Portrait Prints-W [P.8911.1051]

Title: Josh educating a pig
Description: Racist periodical illustration that illustrated the James Fenimore Cooper serial "The Islets of the Gulf, or Rose Budd" in the January 1847 issue of Graham's Magazine. Depicts the scene from the story set during the Mexican-American War aboard a sailing ship when the character Josh, an older Black man cabin hand, teaches a pig "to know their place"-- not to be on the quarter-deck--with scalding water. Shows, in the right, on a ship deck, Josh, attired in a blue-checkered shirt, red vest and tie, yellow pants, and boots, standing with his legs apart, and holding a cloth in his right hand and a kettle in his left hand. He pours "scalding" water from the kettle onto a squealing pig by his feet. He is portrayed with a smile and steam rises from the back of the pig. To the left are a young Black man, attired in a brown broad-rimmed hat, shirt, pants, and boots and an older white man with a chin-beard and attired in a brown jacket, white vest, blue pants, and shoes. The younger man stands with his feet crossed and leans on the ship railing behind him. The older man is portrayed with a rotund midriff and holds his left hand in his vest pocket and his right hand on the railing on which he leans. A lantern-like object is visible in the left foreground and sailing line and a rope ladder are visible in the right background. Scene also includes a cloudy sky, the ocean, and distant sailing ships in the background. Josh and the white man character are portrayed with exaggerated features and/or manners., Title from item., Date from item., Originally published in Graham's Magazine, January 1847, aft. p. 54., Hand-coloring probably added after removal from publication., RVCDC
Date: 1847
Location: Library Company of Philadelphia | Print Department GC - Fictional Characters - J [P.2022.17]

Title: The London Coffee House
Description: 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]

Title: Cinque The chief of the Amistad captives
Description: Bust portrait of the enslaved leader after a painting by New Haven, Connecticut artist, Nathaniel Jocelyn, engraved by Philadelphia artist and Pennsylvania Anti-Slavery Society member, John Sartain, to raise funds for the enslaved ship mutineers' defense before the Supreme Court. Sartain reproduced the painting, commissioned in 1841 by Philadelphia African American abolitionist and Amistad Committee defense fund member, Robert Purvis, following the refusal of the Artist Fund Society to display the original at the society's 1841 exhibit. Depicts the West African, attired in a toga, walking cane in hand, slightly facing left, in front of a background of African landscape., Title from printed signature of sitter below image., Date inferred from content., Printed on recto: fac simile of the original autograph., Original painting in the collections of the New Haven Colony Historical Society, New Haven, CT., LCP exhibition catalogue: Negro history, p. 34., LCP exhibition catalogue: Made in America, #61., See Ann Katherine Martinez's The Life and career of John Sartain (1808-1897): A nineteenth century Philadelphia printmaker (Ph.D dissertation, The George Washington University, 1986), p. 75-78., See Hugh Honour's The Image of the Black in western Art (Cambridge: Harvard University Press, 1989), part 2, vol. IV, p. 159-161., See Katherine Martinez's and Page Talbott's, eds. The Sartain family legacy (Philadelphia: Temple University Press, 2000), p. 66-67., Originally part of a McAllister scrapbook of engravings. 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: Sartain, John, 1808-1897, engraver
Date: [ca. 1841]
Location: Library Company of Philadelphia | Print Department Portrait prints-C [5306.F.35]

Title: Cinque The chief of the Amistad captives
Description: Bust portrait of the enslaved leader after a painting by New Haven, Connecticut artist, Nathaniel Jocelyn, engraved by Philadelphia artist and Pennsylvania Anti-Slavery Society member, John Sartain, to raise funds for the enslaved ship mutineers' defense before the Supreme Court. Sartain reproduced the painting, commissioned in 1841 by Philadelphia African American abolitionist and Amistad Committee defense fund member, Robert Purvis, following the refusal of the Artist Fund Society to display the original at the society's 1841 exhibit. Depicts the West African, attired in a toga, walking cane in hand, slightly facing left, in front of a background of African landscape., Title from printed signature of sitter below image., Date inferred from content., Printed on recto: fac simile of the original autograph., Original painting in the collections of the New Haven Colony Historical Society, New Haven, CT., LCP exhibition catalogue: Negro history, p. 34., LCP exhibition catalogue: Made in America, #61., See Ann Katherine Martinez's The Life and career of John Sartain (1808-1897): A nineteenth century Philadelphia printmaker (Ph.D dissertation, The George Washington University, 1986), p. 75-78., See Hugh Honour's The Image of the Black in western Art (Cambridge: Harvard University Press, 1989), part 2, vol. IV, p. 159-161., See Katherine Martinez's and Page Talbott's, eds. The Sartain family legacy (Philadelphia: Temple University Press, 2000), p. 66-67., Originally part of a McAllister scrapbook of engravings. 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: Sartain, John, 1808-1897, engraver
Date: [ca. 1841]
Location: Library Company of Philadelphia | Print Department Portrait prints-C [5306.F.35]

Title: Robt Adrain
Description: Half-length portrait of the mathematician, professor, and author. Adrain, attired in a white shirt and scholarly black robes, faces the viewer with his right hand on an open book. Adrain was born in Ireland and left due to his revolutionary beliefs. He taught at Queens College (later Rutgers), Columbia, and University of Pennsylvania where for a short while he was also Vice-Provost., Title from printed signature of sitter below image., Appears in "The United States magazine and Democratic review" (June 1844), 24: frontis., Accessioned 1884., Description revised 2021., Access points revised 2021., Reason was an African American artist, engraver and lithographer working in New York City in the 1830s and 1840s.
Creator: Reason, Patrick Henry, 1816-1898, engraver
Date: [1844]
Location: Library Company of Philadelphia | Print Department Portrait prints - A [52551.O.13a]

Title: Here is a picture of some slaves at work Reward of merit. This may certify that [Mr. George Snow] by diligence and attention to study, merits the approbation of [his] friends and teacher
Description: School token illustrated with a scene showing enslaved men and women working in a tobacco field near a shack. In the right, three younger enslaved men hoe and gather a bundle of tobacco. In the left, an enslaved man stands and converses with an enslaved woman, seated on a bale. They each hold the handles of farming implements. A large sack and crate rest to the left of the bale. In the left background, an enslaved woman stands in the doorway of the shack. Wooden buildings and harvested fields are visible in the right background. The young men wear short sleeves and shorts. The women wear dresses and the man wears short sleeves and pants. Rewards of merit were popular with teachers during the 19th century and were given to reward students who had excelled in their school work. The addition of pictures made a reward of merit card a more special acknowledgement of a pupil’s success., Title from illustration caption and text printed on verso., Date inferred from content of image and graphic medium., Verso contains decorative border surrounding the text., Purchased with the Davida T. Deutsch African American History Fund., Illustrated in Patricia Fenn and Alfred Malpa, Rewards of merit (Charlottesville, Va.: Ephemera Society of America, 1994), 118., Description revised 2021., Access points revised 2021., RVCDC
Date: [ca. 1830- ca. 1850]
Location: Library Company of Philadelphia | Print Department Rewards of Merit - Slaves [118555.D]

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