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Title: P. S. Duval's lithographic establishment & office of the U. S. Mility. Magazine by Huddy & Duval, No. 7, Bank Alley, Philadelphia
Description: Illustration printed on upper half of stationery paper pasted onto front flyleaf of magazine volume. Includes hand-written form letter under the illustration signed by William M. Huddy and P. S. Duval outlining prices of "coloured" versus "plain" plates. Illustration depicts the four-story corner lithographic establishment of P. S. Duval and the headquarters for the United States Military Magazine at the northwest corner of Bank Alley and Dock Street (i.e., 227 Dock Street). A signboard for a house painter adorns the adjacent property facing Dock Street and "Birch's Auctions" occupies the property at the west end of Bank Alley facing Third Street. A row of cavalry soldiers faces east on Dock Street, as pedestrians, soldiers on foot, and a dog congestl the sidewalks in the foreground. The portico and columns of a stately building, probably part of the Merchant's Exchange, are visible across from Duval's establishment. Dock Street building was demolished in 1924., Published in the Military magazine and record of the volunteers of the city and county (Philadelphia, Pa.: [Published by William M. Huddy], 1839)., Duval & Huddy published the military fashion periodical, "U.S. Military Magazine," between 1839 and 1842. P.S. Duval occupied 7 Bank Alley between 1835 and 1848., Philadelphia on Stone, POSA 78, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: *Per M 102.3 5531.Q, vol. 1.
Date: 1839
Location: Library Company of Philadelphia | Books & Other Texts | Rare W262 [*Per M 102.3 5531.Q v. 1], http://www.lcpimages.org/wainwright/W262.htm

Title: Panorama of Philadelphia from the State House steeple. East
Description: Panoramic view looking toward the Delaware River predominately showing the area east of Fifth Street between Arch and South streets. Includes the Court House, i.e. City Hall, 500 Chestnut Street (1); Philadelphia Library, i.e., Library Company of Philadelphia, 105 S. 5th Street (2); U.S. Bank, i.e., Second Bank of the U.S., 420 Chestnut Street (3); Philadelphia Bank, 400-408 Chestnut Street (4); Girard Bank, 120 S. 3rd Street (5); Pennsylvania Bank, 134-136 S. 2nd Street (6); [Merchants'] Exchange, 143 S. 3rd Street (7) Christ Church, 22-34 N. 2nd Street (8); Smith's Island, Delaware River (9); and Camden (10) and Kaighn's Point (11) in New Jersey. Also shows part of the State House garden; the north side of the 400 block of Chestnut Street; the adjoined storefronts at 426-434 Chestnut Street; the "Our House" hotel, 408 Library Street; Military Hall, 412 Library Street; rooftop views of several of the surrounding city blocks; and a few pedestrians and a horse-drawn carriage on the 400 block of Chestnut Street and the grounds of the State House., Plate one of four panoramas originally issued as Panorama of Philadelphia. Views taken from the State House steeple (Philadelphia: Published by J.C. Wild & J.B. Chevalier, 1838). These panoramas also accompanied bound editions of Views of Philadelphia, and Its Vicinity (Philadelphia: Published by J.C. Wild & J.B. Chevalier, Lithographers, 72 Dock Street, 1838.) Views of Philadelphia was a series of twenty lithographs originally published as five numbers of four prints each. The four panoramas essentially constituted a sixth number in the series, and were published in bound editions with the twenty views under the title Panorama and Views of Philadelphia, and Its Vicinity, published by J.B. Chevalier in 1838 and reissued by J.T. Bowen the same year., First state., Key to 11 landmarks printed below the image., Philadelphia on Stone, POS 542.a.1, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: P.2153 and in Print Room *Am 1838 Wild 3008.Q (Poulson), Historical Society of Pennsylvania:, Described in Martin Snyder’s "J.C. Wild and His Philadelphia Views," Pennsylvania Magazine of History and Biography (January 1953, Vol. LXXXVII), p. 32-53.
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: c1838
Location: Library Company of Philadelphia | Print Department *W264.1[P.2153]

Title: Panorama of Philadelphia from the State House steeple. North
Description: Panoramic view looking North toward North Philadelphia predominately showing the area north of Chestnut Street between the Delaware River and 25th Street. Includes St. Augustine Church, 260-262 N. 4th Street (1); Girard College, 2000-2490 N. College Avenue (2); Zion Church, 100 block N. 4th Street (3); Franklin Square, between Race, Vine, North Sixth, and North Franklin streets (4); and Pennsylvania Hall, 100 block N. 6th Street (5). The north side of the 500 block (501-535) of Chestnut Street, with several businesses, dominates the foreground. Includes the office of "City Resor..," "Eagle Hotel" (533), "Washington Hall" (531), and "Woods Confectionary" (187, i.e., 523-525). Also shows the rooftops of several city blocks, the masts of docked ships along the Delaware, rows of trees in front of the State House, and a figure in one of the doorway of the Chestnut Street shops., Plate 2 of four panoramas originally issued as Panorama of Philadelphia. Views taken from the State House steeple (Philadelphia: Published by J.C. Wild & J.B. Chevalier, 1838). These panoramas also accompanied bound editions of Views of Philadelphia, and Its Vicinity (Philadelphia: Published by J.C. Wild & J.B. Chevalier, Lithographers, 72 Dock Street, 1838). Views of Philadelphia was a series of twenty lithographs originally published as five number of four prints each. The four panoramas essentially constituted a sixth number in the series, and were published in bound editions with the twenty views under the title Panorama and Views of Philadelphia, and Its Vicinity, published by J.B. Chevalier in 1838 and reissued by J.T. Bowen the same year., First state., Key to 5 landmarks printed below the image., Philadelphia on Stone, POS 542.b.1, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: P.2152 and in Print Room *Am 1838 Wild 3008.Q (Poulson), Historical Society of Pennsylvania:, Trimmed., Described in Martin Snyder’s "J.C. Wild and His Philadelphia Views," Pennsylvania Magazine of History and Biography (January 1953, Vol. LXXXVII), p. 32-53.
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: c1838
Location: Library Company of Philadelphia | Print Department *W265.1 [P.2152]

Title: Panorama of Philadelphia from the State House Steeple. North
Description: Panoramic view looking North toward North Philadelphia predominately showing the area north of Chestnut Street between the Delaware River and 25th Street. Includes St. Augustine Church, 260-262 N. 4th Street (1); Girard College, 2000-2490 N. College Avenue (2); Zion Church, 100 block N. 4th Street (3); Franklin Square, between Race, Vine, North Sixth, and North Franklin streets (4); and Pennsylvania Hall, 100 block N. 6th Street (5). The north side of the 500 block (501-535) of Chestnut Street, with several businesses, dominates the foreground. Includes the office of "City Resor..," "Eagle Hotel" (533), "Washington Hall" (531), and "Woods Confectionary" (187, i.e., 523-525). Also shows the rooftops of several city blocks, the masts of docked ships along the Delaware, rows of trees in front of the State House, and a figure in one of the doorway of the Chestnut Street shops., Plate 2 of four panoramas originally issued as Panorama of Philadelphia. Views taken from the State House steeple (Philadelphia: Published by J.C. Wild & J.B. Chevalier, 1838). These panoramas also accompanied bound editions of Views of Philadelphia, and Its Vicinity (Philadelphia: Published by J.C. Wild & J.B. Chevalier, Lithographers, 72 Dock Street, 1838). Views of Philadelphia was a series of twenty lithographs originally published as five numbers of four prints each. The four panoramas essentially constituted a sixth number in the series, and were published in bound editions with the twenty views under the title Panorama and Views of Philadelphia, and Its Vicinity, published by J.B. Chevalier in 1838 and reissued by J.T. Bowen the same year., Key to 5 landmarks printed below the image., Second state., Copyrighted by J.T. Bowen. LCP copies lacking copyright statement., Key to 5 landmarks printed below the image., Philadelphia on Stone, POS 542.b.2, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: 8236.F.2 and in Print Room *Am 1838 Wild 3008.Q (Rush), Historical Society of Pennsylvania:, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: 8236.F.2 and in Print Room *Am 1838 Wild 3008.Q (Rush), Historical Society of Pennsylvania:, Gift of Mrs. A. Douglas Oliver., Described in Martin Snyder’s "J.C. Wild and His Philadelphia Views," Pennsylvania Magazine of History and Biography (January 1953, Vol. LXXXVII), p. 32-53.
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: c1838
Location: Library Company of Philadelphia | Print Department *W265.2 [8236.F.2]

Title: Panorama of Philadelphia from the State House steeple. South
Description: Panoramic view looking south toward the Delaware River predominately showing the area between Independence Square, the river, and about 8th Street. Includes the Navy Yard at Southwark (1); Shot Tower, 2nd and Carpenter streets (2); Philadepha. C. Prison, i.e., Moyamensing Prison, 1000 block of Reed Street; Albert Barnes Church, i.e., First Presbyterian Church, 626-630 Locust Street (4); Penna. Hospital, 801-849 Pine Street (5); Washington Square, between Sixth, Eighth, Walnut and Spruce streets (6); and Independence Square (7). Also shows visitors on the grounds of Independence Square, the 500 block of the south side of Walnut Street, including a horse-drawn dray, and the rooftops of several city blocks., Plate 4 of four panoramas originally issued as Panorama of Philadelphia. Views taken from the State House steeple (Philadelphia: Published by J.C. Wild & J.B. Chevalier, 1838). These panoramas also accompanied bound editions of Views of Philadelphia, and Its Vicinity (Philadelphia: Published by J.C. Wild and J.B. Chevalier, Lithographers, 72 Dock Street, 1838). Views of Philadelphia was a series of twenty lithographs originally published as five numbers of four prints each. The four panoramas essentially constituted a sixth number in the series, and were published in bound editions with the twenty views under the title Panorama and Views of Philadelphia, and Its Vicinity, published by J.B. Chevalier in 1838 and reissued by J.T. Bowen the same year., First state., Key to 7 landmarks printed below the image., Philadelphia on Stone, POS 542.c.1, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: *P.2154 and in Print Room *Am 1838 Wild 3008.Q (Poulson), Historical Society of Pennsylvania:, Described in Martin Snyder’s "J.C. Wild and His Philadelphia Views," Pennsylvania Magazine of History and Biography (January 1953, Vol. LXXXVII), p. 32-53.
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: c1838
Location: Library Company of Philadelphia | Print Department *W266.1 [P.2154]

Title: Panorama of Philadelphia from the State House Steeple. South
Description: Panoramic view looking south toward the Delaware River predominately showing the area between Independence Square, the river, and about 8th Street. Includes the Navy Yard at Southwark (1); Shot Tower, 2nd and Carpenter streets (2); Philadepha. C. Prison, i.e., Moyamensing Prison, 1000 block of Reed Street; Albert Barnes Church, i.e., First Presbyterian Church, 626-630 Locust Street (4); Penna. Hospital, 801-849 Pine Street (5); Washington Square, between Sixth, Eighth, Walnut and Spruce streets (6); and Independence Square (7). Also shows visitors on the grounds of Independence Square, the 500 block of the south side of Walnut Street, including a horse-drawn dray, and the rooftops of several city blocks., Plate 4 of four panoramas originally issued as Panorama of Philadelphia. Views taken from the State House steeple (Philadelphia: Published by J.C. Wild & J.B. Chevalier, 1838). These panoramas also accompanied bound editions of Views of Philadelphia, and Its Vicinity (Philadelphia: Published by J.C. Wild & J.B. Chevalier, Lithographers, 72 Dock Street, 1838). Views of Philadelphia was a series of twenty lithographs originally published as five numbers of four prints each. The four panoramas essentially constituted a sixth number in the series, and were published in bound editions with the twenty views under the title Panorama and Views of Philadelphia, and Its Vicinity, published by J.B. Chevalier in 1838 and reissued by J.T. Bowen the same year., Second state., Copyrighted by J.T. Bowen. LCP copies lacking copyright statement., Key to 7 landmarks printed below the image., Philadelphia on Stone, POS 542.c.2, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: *8236.F.3 and in Print Room *Am 1838 Wild 3008.Q (Rush), Historical Society of Pennsylvania:, Described in Martin Snyder’s "J.C. Wild and His Philadelphia Views," Pennsylvania Magazine of History and Biography (January 1953, Vol. LXXXVII), p. 32-53., Gift of Mrs. A. Douglas Oliver.
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: c1838
Location: Library Company of Philadelphia | Print Department *W266.2 [8236.F.3]

Title: Panorama of Philadelphia from the State House steeple. West
Description: Panoramic view looking west toward West Philadelphia past the Schuykill River predominately showing the area between Arch Street and Gray's Ferry Avenue. Includes U.S. Naval Asylum, 2420 Gray's Ferry Avenue (1); [Blockley] Alms House, S. 34th and Pine streets (2); Peale's Museum, 100 block S. 9th Street (3); Walnut Street Theatre, 827-833 Walnut Street (4); Cook's Circus, i.e., Thomas Cooke's equestrian circus, 800 block of Chestnut Street (5); St. John's Church, i.e., St. John the Evangelist Church, 23-25 S. 13th Street (6); St. Stephen's Church, 19 S. 10th Street (7); University of Pennsylvania, Ninth Street below Market Street (8); [Beck's] Shot Tower, 21st and Cherry streets (9); Inst. for the Blind, 200 block Race Street (10); Water Works, Fairmount (11); East. Penitentiary, 2100-2199 Fairmount Avenue (13); Arcade, 615-619 Chestnut Street (14); and Chestnut St. Theatre, 603-609 Chestnut Street (15). Also shows part of Independence Square, Congress Hall, Marshall House hotel (625-631), residences on the 100 block of S. 6th Street, and the rooftops of several city blocks., Plate 3 of four panoramas originally issued as Panorama of Philadelphia. Views taken from the State House steeple (Philadelphia: Published by J.C. Wild & J.B. Chevalier, 1838). These panoramas also accompanied bound editions of Views of Philadelphia, and Its Vicinity (Philadelphia: Published by J.C. WIld & J.B. Chevalier, Lithographers, 72 Dock Street, 1838). Views of Philadelphia was a series of twenty lithographs originally published as five numbers of four prints each. The four panoramas essentially constituted a sixth number in the series, and were published in bound editions with the twenty view under the title Panorama and Views of Philadelphia, and Its Vicinity, published by J.B. Chevalier in 1838 and reissued by J.T. Bowen the same year., First state., Key to 15 landmarks printed below the image., Upper right corner missing, including cited landmark "Waterman's Church.", Philadelphia on Stone, POS 542.d.2, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: *P.2155 and in Print Room *Am 1838 Wild 3008.Q (Poulson), Historical Society of Pennsylvania:
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: c1838
Location: Library Company of Philadelphia | Print Department *W267.1 [P.2155]

Title: Panorama of Philadelphia from the State House Steeple. West
Description: Panoramic view looking west toward West Philadelphia past the Schuykill River predominately showing the area between Arch Street and Gray's Ferry Avenue. Includes U.S. Naval Asylum, 2420 Gray's Ferry Avenue (1); [Blockley] Alms House, S. 34th and Pine streets (2); Peale's Museum, 100 block S. 9th Street (3); Walnut Street Theatre, 827-833 Walnut Street (4); Cook's Circus, i.e., Thomas Cooke's equestrian circus, 800 block of Chestnut Street (5); St. John's Church, i.e., St. John the Evangelist Church, 23-25 S. 13th Street (6); St. Stephen's Church, 19 S. 10th Street (7); University of Pennsylvania, Ninth Street below Market Street (8); [Beck's] Shot Tower, 21st and Cherry streets (9); Inst. for the Blind, 200 block Race Street (10); Water Works, Fairmount (11); [Thomas T.] Waterman's Church, i.e., Arch Street Presbyterian Church, 1006 Arch Street (12); East. Penitentiary, 2100-2199 Fairmount Avenue (13); Arcade, 615-619 Chestnut Street (14); and Chestnut St. Theatre, 603-609 Chestnut Street (15). Also shows part of Independence Square, Congress Hall, Marshall House hotel (625-631), residences on the 100 block of S. 6th Street, and the rooftops of several city blocks., Plate 3 of four panoramas originally issued as Panorama of Philadelphia. Views taken from the State House steeple (Philadelphia: Published by J.C. Wild & J.B. Chevalier, 1838). These panoramas also accompanied bound editions of Views of Philadelphia, and Its Vicinity (Philadelphia: Published by J.C. Wild & J.B. Chevalier, Lithographers, 72 Dock Street, 1838). Views of Philadelphia was a series of twenty lithographs originally published as five numbers of four prints each. The four panoramas essentially constituted a sixth number in the series, and were published in bound editions with the twenty views under the title Panorama and Views of Philadelphia, and Its Vicinity, published by J.B. Chevalier in 1838 and reissued by J.T. Bowen the same year., Copyrighted by J.T. Bowen. LCP copies lacking copyright statement., Second state., Partial key to 8 of 15 landmarks (1-4, 8-12) printed below the image. Copy trimmed., Philadelphia on Stone, POS 542.d.2, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: *8236.F.4 and in Print Room *Am 1838 Wild 3008.Q (Rush), Historical Society of Pennsylvania: Bd 862 W 6441 front, Gift of Mrs. A. Douglas Oliver.
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: c1838
Location: Library Company of Philadelphia | Print Department *W267.2 [8236.F.4]

Title: Philadelphia Arcade. Joseph L. Moore, dealer in fancy & staple dry goods, corner of Pine & Water Streets New-York Having established a branch in the Arcade south front, and fitted up his store with a separate apartment for selling at whole sale, is constantly receiving from New-York auctions every description of goods in his line which will be sold at very reduced prices. at whole sale & retail. N.B. Country merchants are respectfully invited to call and exame [sic] before making their purchases
Description: Advertisement showing the Moore storefront within the two-story shop gallery built 1826-1827 after the designs of John Haviland at 615-619 Chestnut Street. Statuary, above empty niches, adorns the front facade of the four-arched gallery entrance and "JLM" is visible above the centrally-located storefront that is flanked by corridors lined with stores. Pedestrians walk in front of the arcade. Neighboring buildings, including the Bolivar House hotel (611-613), are visible. Also shows, in the foreground, a gentleman peering at the arcade from across the street. The building was later used as a bathhouse and hotel before being demolished circa 1859-1860., Date supplied by Wainwright., Philadelphia on Stone, POS 572, Wainwright retrospective conversion project, edited., Historical Society of Pennsylvania:
Creator: Lehman, George, d. 1870, artist
Date: [1833]
Location: Library Company of Philadelphia | Print Department W279 [P.2169]

Title: Roper's Gymnasium. 274 Market Street, Philadelphia
Description: Advertisement showing the interior of the well-attended gymnasium, operated by James Roper on the 800 block of Market Street, in which several men exercise in front of a crowd of spectators. In the right, three men perform balance moves on a balance beam next to a wall adorned with a rack from which boxing gloves and squash rackets hang. Beside the beam, two men wearing boxing gloves converse near the pommel horse that two men utilize. In the front center and left of the room, two pairs of men, one pair wearing face guards, fence; two men pull weights attached to the ceiling; and another tests his strength on the parallel bars near men climbing poles. To the rear, other exercisers climb vertical and inclined ropes, hang and climb from exercise ladders, straddle and perform pull-ups on horizontal poles, and dangle upside down from a trapeze. Around the room, spectators including several men and a few women in winter clothing, stand and sit to watch the gym attendees. Roper established the gymnasium circa 1831 which relocated to the 800 block of Walnut Street circa 1833., Several of the figures annotated with a number that probably corresponds to an unlocated key., Philadelphia on Stone, POS 659, Wainwright retrospective conversion project, edited., Historical Society of Pennsylvania:, Lower left corner missing and repaired.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department *W320 [P.2181]

Title: [Wine & liquor store. Charles Egner 10 North Third Street, Philadelphia]
Description: Advertisement showing the busy four-story storefront for "Charles Enger Wine & Liquor Store." Two white gentleman converse near a row of stacked barrels within the store and two male workers, including an African American man, hoist a barrel at the second entranceway. In front of the open cellar to the building, a white man employee rolls one of several barrels lined on the sidewalk. To the left of the worker, three barrels stand upright and a white gentleman approaches. Also shows boxes in the first-floor store window; the shutters and windows of the upper floors in various states of being open; and partial views of the adjacent buildings., Poulson inscription on recto: N. Third St. Third Street. Oct. 1846., Title supplied by cataloger., Philadelphia on Stone, POS 845, Wainwright retrospective conversion project, edited., LCP copy trimmed and lacking title., Accessioned 1982., Description revised 2021., Access points revised 2021.
Creator: Breton, William L., approximately 1773-1855, artist
Date: [ca. 1837]
Location: Library Company of Philadelphia | Print Department W460 [P.2244]

Title: United States Hotel Chesnut [sic] Street, Philadelphia. This hotel under the presant [sic] management has under gone many important alterations and has been entirely refurnished with rich and elegant furniture. The situation of the house is acknowledged by all to be the most favourable of any in the city for either the man of business of pleasure. The proprietor respectfully solicits the patronage of friends and the public. Thomas C. Rea
Description: Advertisement looking east down Chestnut Street showing the large, prominent hotel opened in 1826 following the conversion by John Rea of several properties at 419-423 Chestnut Street. Gentlemen convene near the entranceway and portico of the hotel in front of which a carriage is parked. On the north side of the street, east of the hotel, several individuals, including couples and families, promenade and converse on the several blocks of businesses visible to the riverfront. Opposite the hotel, on the south side of the street, a couple promenades and boys play marbles in front of the former Second Bank of the United States (420 Chestnut) as another couple and several shadowy figures of pedestrians walk down the sidewalks in the background. In the street, a couple on horseback, an omnibus, and carriage travels. Also shows a partial view of the Farmers & Mechanics Bank (425-429) adjacent the hotel and a few trees and street lamps landscaping the street. A patron ascends the stairs to the bank. The hotel, altered in 1840, was demolished in 1856 for the erection of the new building for the Bank of Pennsylvania. Thomas C. Rea, son of John Rea, operated the property until his death in 1846., Philadelphia on Stone, POS 779, Wainwright retrospective conversion project, edited.
Creator: Quintin, David S., artist
Date: [ca. 1840]
Location: Library Company of Philadelphia | Print Department *W417 [P.2228]

Title: Vue du camp du voyageur Douville quand il passe le fleuve Couango, chez le Soba Bakal
Description: Depiction of Douville's camp on the edge of the Couango River in modern Angola. The camp consists of a number of small huts, as well as a larger, grander one, from whose thatched roof a flag waves. A number of people, and a few animals, appear on the outskirts of the camp. Four boats sail along the river, and two other camps can be seen in the background., Plate 16 in Jean-Baptiste Douville's Voyage au Congo et dans l'intérieur de l'Afrique equinoxiale: fait dans les années 1828, 1829 et 1830 (A Paris: Chez Jules Renouard, libraire, rue de Tournon, n. 6; Imprimé chez Paul Renouard, rue Garencière, n. 5, 1832)., Fels Afro-Americana Image Project, Africa: Images, Maps, and Geography.
Creator: Becker, F. S., lithographer
Date: 1832
Location: Library Company of Philadelphia | Books & Other Texts | Rare *U Afri Douv 10079.O plate 16, https://digital.librarycompany.org/islandora/object/Islandora%3A2899

Title: Vue des montagne à l'est du Bihé
Description: Mountainous landscape rendered from the Canjungas River near Bihé (now Kuito) in central Angola. In addition to various landscape elements, the image includes a man in a small rowboat, and three huts on the river's edge., Plate 12 in Jean-Baptiste Douville's Voyage au Congo et dans l'intérieur de l'Afrique equinoxiale: fait dans les années 1828, 1829 et 1830 (A Paris: Chez Jules Renouard, libraire, rue de Tournon, n. 6; Imprimé chez Paul Renouard, rue Garencière, n. 5, 1832)., Caption underneath the image reads: (Prise sur les bords de la rivière Canjungas près Bihé capitale de l'etat de ce nom.), Lithographer probably Boulanger [i.e. Mr. B.], for he executed other plates in Douville's volume., Fels Afro-Americana Image Project, Africa: Images, Maps, and Geography.
Creator: Becker, F. S.
Date: 1832
Location: Library Company of Philadelphia | Books & Other Texts | Rare *U Afri Douv 10079.O plate 12, https://digital.librarycompany.org/islandora/object/Islandora%3A3141

Title: Black and white beaux
Description: Portrays a black couple in New York; it appears within the context of Trollope's discussion of free blacks in the city, particularly their dress, taste, and comportment. "On one occassion," Trollope wrote, "we met in Broadway a young Negress in the extreme of fashion, and accompanied by a black beau, whose toilet was equally studied; eye-glass, guard-chin, nothing was omitted; he walked beside his sable goddess uncovered, and with an air of the most tender devotion. At the window of a handsome house which they were passing stood a very pretty white girl, with two gentlemen beside her; but alas! both of them had their hats on, and one was smoking!" (p. 279), Plate in Frances Trollope's Domestic Manners of the Americans (London: Printed for Whittaker, Treacher, & Co.; New York: Reprinted for the booksellers, 1832), p. 278., Fels Afro-Americana Image Project, Scenes from Daily Life.
Creator: Pendleton, lithographer
Date: [1832]
Location: Library Company of Philadelphia | Books & Other Texts | Rare Am 1832 Tro 8678.O p 278, https://digital.librarycompany.org/islandora/object/Islandora%3A2732

Title: A Zoolu prophetess
Description: Portrait image of a Zoolu (i.e, Zulu) prophetess whom Isaacs met during his travels. He described her as follows, "Her person . . . did not less attract my attention than the hostile attitudes and habiliments of her guards. Her head was partly shaved, as is the custom of the natives. Her hair was thick, and seemed besmeared with fat and charcoal.One eyelid was painted red, the other black; and her nose was rendered more ornamental than nature had designed it, by being also blackened by the same preparation." As he also noted, she carried a "stick or wand, with a black cow's tail tied to the end, which she flourished about with infinite solemnity." (p. 166-167). In the lithograph, the prophetess wears an ornate head-piece and ceremonial dress; she holds a small nosegay to her breast., Plate in Nathaniel Isaacs's Travels and Adventures in Eastern Africa: Descriptive of the Zoolu Manners, Customs, etc. etc.: With a Sketch of Natal (London: Edward Churton, 26, Holles Street, 1836)., Fels Afro-Americana Image Project, Africa: Images, Maps, and Geography.
Creator: Bagg, William, lithographer
Date: [1836]
Location: Library Company of Philadelphia | Books & Other Texts | Rare U Afri Isaac 6281.D vol 2 p 166, https://digital.librarycompany.org/islandora/object/Islandora%3A2917

Title: Habitation Nègre
Description: Depiction of an African home, complete with a small chapel, and, as the caption notes, "structures for the inhabitants' use." Two large horns rest on the ground in front of the home., Plate 20 in Jean-Baptiste Douville's Voyage au Congo et dans l'intérieur de l'Afrique equinoxiale: fait dans les années 1828, 1829 et 1830 (A Paris: Chez Jules Renouard, libraire, rue de Tournon, n. 6; Imprimé chez Paul Renouard, rue Garencière, n. 5, 1832)., Caption underneath the image reads: (entourée des chapelles et des edifices à l'usage des habitans)., Fels Afro-Americana Image Project, Africa: Images, Maps, and Geography.
Creator: Noguès, lithographer
Date: 1832
Location: Library Company of Philadelphia | Books & Other Texts | Rare *U Afri Douv 10079.O plate 20, https://digital.librarycompany.org/islandora/object/Islandora%3A2900

Title: A strike! A strike!
Description: Anti-labor union cartoon satirizing the several New York workers' strikes for higher wages in early 1836 during a harsh winter; a period of severe inflation, including exorbitant market prices; and an era of property speculation. Depicts livestock on strike for a higher market value near fish peddlers attired in winter garb, including two African American shellfish vendors. Animals include a Tom turkey ordering a turkey hen not to sell her young ones because "gobblers will bring twenty shillings and hens fifteen"; hens refusing to lay eggs for "less than four pence a piece"; a pig holding a banner inscribed "Hams 15 cents per lb exclaiming "I shall Jew them out of a shilling a pound"; an indignant lamb and calf conferring about their deserved increased prices per pound; and a confident steer exhorting the range of high prices for ordinary beef, corn fed beef, and beef shins. In the foreground, two African American men vendors get advice from two African American marketers, portrayed in racist caricature and speaking in the vernacular, about oysters unable to "strike for de frost" and that "gemmen" will not buy open mouthed clams. A white man fish peddler hawks his bass at "whole for two shilling de pound" and cut at "tree shillin" to a white gentleman inquiring about fresh fish. In the right, a barking dog sits on his "House to let. Inquire No. 48 Courtlandt St." (address of publisher) and comments "I feel like a savage! this is all contrary to law," probably an allusion to the "Geneva ruling" of 1835 by the New York state supreme court, which proclaimed unions and strikes forbidden by law., Title from item., Artist's initial lower left corner., Publication information from Weitenkampf., Copyright statement printed on recto: Entered according to act of Congress in the Year 1836, by H.R. Robinson, in the clerk's office of the District Court of the United States of the Southern District of New York., Described in Nancy Reynolds Davison's "E.W. Clay: American political caricaturist of the Jacksonian era" (PhD diss., The University of Michigan, 1980), p. 164-165., Purchase 2003., 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: Clay, Edward Williams, 1799-1857, artist
Date: [March 1836]
Location: Library Company of Philadelphia | Print Department political cartoons - 1836 - 1w [P.2003.40.1]

Title: [The Eighth Beatitude]
Description: Calligraphic text of the beatitude, which reads "Blessed Are They Which Are Persecuted For Righteousness Sake: For Theirs Is The Kingdom Of Heaven.", Title supplied by cataloguer., Printed in upper right corner: Plate 8., Philadelphia on Stone, POSP 64
Creator: Probst, John, b. ca. 1805, lithographer
Date: [ca. 1838]
Location: Library Company of Philadelphia | Print Department *BW - Religion [P.2004.13.3]

Title: C.J. Fell & Brother's chocolate manufactory
Description: Exterior view of the mill complex at Faulkand, near Wilmington Delaware for the Philadelphia spice and chocolate manufacturer. Signage reading "C.J. Fell & Brother's Chocolate Manufactory" adorns the main building surrounded by smaller outbuildings and an overpass over the millrace. A horse-drawn wagon and man on horse-back travel on the property and bushes and trees line the race. A residence and pastureland is visible in the background. Factory purchased by Jonathan Fell in 1828., Not in Wainwright., Philadelphia on Stone, POS 75
Creator: Lehman, George, d. 1870, artist
Date: [ca. 1835]
Location: Library Company of Philadelphia | Print Department *BW - Industries [P.8970.6]

Title: [F. Leaming & Co. hardware, nail, steel, hollow-ware & looking glass store. No. 215 Market Street]
Description: Crudely-printed advertisement showing the four-story storefront at 215 Market Street (i.e., 500 block Market). A patron approaches the glass-paned door of the business and a couple strolls on the sidewalk. Building contains partially visible cellar doors. Leaming operated at the location 1831-1833., Title supplied by Wainwright., Philadelphia on Stone, POS 223, LCP copy trimmed and lacking title., Wainwright retrospective conversion project, edited., Historical Society of Pennsylvania:
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department W119 [P.9094]

Title: Dawson's Brewery. N.W. corner of 10th & Filbert Streets
Description: Advertisement depicting an exterior view of the three-story corner brewery constructed circa 1822 and operated by Mordecai L. Dawson and William Morrison. Includes a partial view of the rear ell (right) and two signboards on the facade that read, "M.L. Dawson's Brewery". Barrels line the sidewalk of Filbert Street in front of the brewery where two men load them one-by-one onto a horse-drawn dray. Dawson and Morrison opened their brewery at 79 Chestnut Street in 1820, and moved to Tenth and Filbert Streets in 1830, after purchasing the old Farmers' Brewery in 1829. Dawson went into business with Charles Poultney, Frederick Collins and William Massey after Morrison passed in the late 1840s, and the brewery eventually became Massey Brewing Co., Published in James Mease and Thomas Porter's Picture of Philadelphia from 1811 to 1831: Giving an account of its origin, increase and improvements in arts, sciences, manufactures, commerce and revenue. (Philadelphia: Published by Robert DeSilver, No. 110 Walnut Street, 1831) vol. II, opposite page 56 and in Thomas Porter's Picture of Philadelphia 1881 to 1831: Giving an account of the improvements of the city, during that period (Philadelphia: Published by Robert DeSilver, No. 110 Walnut Street, 1831) vol. II, opposite page 56., Wainwright retrospective conversion project, edited., Philadelphia on Stone, POS 172, Library Company of Philadelphia: in Am 1831 Mease 68582.D; in Am 1831 Mease Log 4072.D; Am 1831 Mease 20876.D; and Am 1831 Mease 104520.D., Historical Society of Pennsylvania:
Creator: Breton, William L., artist
Date: [1831]
Location: Library Company of Philadelphia | Print Department W92 [Am 1831 Mease 68582.D.56a], Library Company of Philadelphia | Print Department W92 [Am 1831 Mease Log 4072.D.56a], Library Company of Philadelphia | Print Department W92 [Am 1831 Mease 20876.D.56a], Library Company of Philadelphia | Print Department W92 [Am 1831 Mease 104520.D.56a]

Title: [Dickson & Co.] Watches, fine cutlery, jewellery
Description: Advertisement showing the five-story storefront for "Dickson and Co. Importers of Watches Clocks Jewellery & Plated Ware" at 14 North Fifth Street (between Market and Arch streets). Signage adorns the building, including over a side doorway. Building also contains large display windows where merchandise is visible, particularly plated ware and tea kettles. Merchandise is also visible on shelves, inside of the store, near an open doorway. In the street, a horse-drawn dray passes near crates piled at the street corner. Dickson & Co. was renamed from Dickson & Harper in 1840 and the import business operated from 5th and Commerce under the new name until 1841., Poulson inscription on recto: No. 14 n. Fifth Street. N.W. cor. of "Commerce" St. late "South Alley.", Philadelphia on Stone, POS 182, Wainwright retrospective conversion project, edited., Trimmed.
Date: [ca. 1840]
Location: Library Company of Philadelphia | Print Department W95 [P.2035]

Title: Friends Asylum for the Insane near Frankford
Description: Exterior view of the almshouse building as it appeared after two patient wings were added to the original structure in 1827. The grounds of the mental institution, formerly a fifty-two acre farm in Oxford Township, were purchased by the Society of Friends in 1813, near Frankford. The hospital opened to patients four years later in 1817., Frontispiece to Fifteenth annual report on the state of the Asylum for the relief of persons deprived of the use of their reason, (Philadelphia: Printed by T.A. Conrad, corner Sixth and Cherry Streets, 1832). Report also contains "Map of the Asylum Farm" and "Groundfloor of the Asylum" printed on tissue by Childs & Inman lithrs. Philadelphia., Philadelphia on Stone, POS 284, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: in Am 1814 Phi Asy (box) 9092.O.11a., Historical Society of Pennsylvania, Free Library of Philadelphia: Castner 9:38, Philadelphiana
Creator: Doughty, Thomas, 1793-1856, artist
Date: [1832]
Location: Library Company of Philadelphia | Print Department W143 [Am 1814 Phi Asy (box) 9092.O.11a.frontis]

Title: Manayunk
Description: Book illustration of a landscape view showing the village of Manayunk along the east bank of the Schuylkill River, northwest of Philadelphia. Townscape is visible in the right of the image, including Joseph Ripka’s cotton mills erected 1831 and 1835 near the depicted Flat Rock Turnpike Bridge. Manayunk was incorporated into the city of Philadelphia in 1854., Published in Daniel Bowen's A History of Philadelphia with a notice of villages in the vicinity (Philadelphia: Printed and published by Daniel Bowen, 1839), opposite page 134., Philadelphia on Stone, POS 455.4. Digital image shows third state of print., Wainwright retrospective conversion project, edited., Library Company of Philadelphia: in Am 1839 Bow 9837.O and 76434.O., Historical Society of Pennsylvania:
Creator: Wild, J. C. (John Caspar), ca. 1804-1846, artist
Date: [1839]
Location: Library Company of Philadelphia | Print Department W226.4 [Am 1839 Bow 9837.O and 76434.O]

Title: [Marshall House, 207 Chestnut Street, Philadelphia. E. Badger, proprietor]
Description: Stark advertisement showing the front facade of the hotel at 625-631 Chestnut Street. A couple walks toward the entrance. Edmund Badger, a former proprietor of The City Hotel, operated the Marshall House at 207 Chestnut Street 1837-1841. Hotel was later renamed the Columbia House and razed in 1856., Title and date from Poulson inscription on recto: Feb. 1, 1837. E. Badger, Proprietor. Chestnut St. near Seventh St., Philadelphia on Stone, POS 458, LCP copy trimmed and lacking title and imprint., Wainwright retrospective conversion project, edited.
Date: [February 1, 1837]
Location: Library Company of Philadelphia | Print Department W228 [P.2102]

Title: Edwin A. Atlee
Description: Half-length portrait of the physician and abolitionist, attired in a white shirt, a waistcoat, and a jacket with spectacles perched on his forehead, facing left. Atlee was a prominent Philadelphia physician and author who was active in the abolition movement., Title from printed signature of sitter below image., Dated based on the presented age of the sitter., Manuscript note on recto: When will this be ready for the press on Monday., Detailed manuscript notes, possibly by artist in a conversation with a hearing person, on verso about background and lightness of a print: John Carlin / I can make you another / Background with trees without / sky/ Without any work on it / any [Back?] I may make / will have much work on / account of the great size of / the Picture if you make / all sky much work / all trees / There is less work on [these?] / than any [other ?] Because / the Building is Light / you are all right / if you intend sending the Letter / you should be quick for else / you will lose much time / waiting, Originally part of a McAllister scrapbook of portraits. McAllister Collection, gift, 1886., Description revised 2021., Access points revised 2021., Albert Newsam (1809-1864) was a respected deaf and non verbal Philadelphia engraver and lithographer who studied under Peter S. Duval. He received early art training at the Pennsylvania Institution for the Deaf and Dumb.
Creator: Newsam, Albert, 1809-1864, lithographer
Date: [ca. 1850]
Location: Library Company of Philadelphia | Print Department Portrait prints - A [(1)5750.F.22a]

Title: [I] take the responsibility
Description: Satire concerning Andrew Jackson's role in the controversy over the discontinuation of federal deposits to the Bank of the United States. Jackson, portrayed as a jack-ass, is led by Van Buren, believed to be the force behind the discontinuation. He pulls a refuse cart labeled "K.C." (i.e., Kitchen Cabinet) which symbolizes the U.S. government. The cart is steered by a figure made of kitchen implements. A barefoot African American man, portrayed as a racist caricature and attired in a shirt with the sleeves rolled up and pants, pours a bucket of waste from a public privy labeled "Public Accommodations. Place of Deposit" into the cart. There is a white man sitting inside the "Public Accommodations" building and large rats run on the roof., Title from item., Pictograph of an eye is used in place of "I" in title., Date from copyright statement: Entered according to Act of Congress in the year 1834 by Endicott & Swett in the Clerk's office of the District Court of the southern District of New York., Inscribed: No. 1., Hassan Straightshanks is possibly a pseudonym for David Claypoole Johnston., Purchase 1957., 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: 1834
Location: Library Company of Philadelphia | Print Department Political Cartoons -1834-12 [6194.F]

Title: The people putting responsibility to the test or the downfall of the kitchen cabinet and collar presses
Description: Cartoon predicting the dire consequences to follow President Jackson's withdrawal of federal funds from the Bank of the United States. Depicts a riot in which Supreme Court Justice John Marshall warns that "the day of retribution is at hand" as anti-bank fiscal advisors Reuben Whitney and Thomas Ellicott use a rope to pull down a statue of Justice, depicted as a white woman holding scales and stepping on a snake, from a pedestal labeled "Constitution." An angry mob of white men farmers, laborers, and tradesmen carry instruments including axes, pitchforks, and shovels and papers labeled, “Broken Bank.” They fight and demand the recharter of the bank, shouting "Send back the deposites! Recharter the Bank!" and "Come back old responsibility." In the right, Jackson escapes on the back of "Jack Downing" cursing Postmaster General Kendall, "By the Eternal Major Downing; I find Ive been a mere tool to that Damn'd Amos [Kendall] and his set, the sooner I cut stick the better." In the left background, under "Senate Chamber," Henry Clay gloats to Daniel Webster and John Calhoun, "Behold Senators the fulfilment of my predictions." In the left foreground, two African American men, portrayed in racist caricature and speaking in the vernacular, predict freedom and the ascension to the throne of abolitionist William Lloyd Garrison, "Hurrah! for Massa Garison, den he shall be King!" A Jewish banker, portrayed in caricature, undercuts a sailor offering him a ten dollar bank note, "Mine Got that ish one of the Pet Bankhs I'll give you one Dollar for the Ten." In the right foreground, newspapers supportive of Jackson, "collar presses," symbolized as dogs with human heads labeled "Evening Post, N. York Standard, Journal of Commerce, Albany Argus," run away chained together., Title from item., Date from copyright statement: Entered according to Act of Congress in the Clerk's Office for the Southern District of New York by T.W. Whitley in the year 1834, and for sale at 104 Broadway., 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., Whitley was a mid-19th-century New York landscape and figure painter who also wrote about art and drama for the New York Herald.
Creator: Whitley, T. W. (Thomas W.), artist
Date: 1834
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1834-7 [1884.F.3]

Title: Not very like a whale but very like a fish. Seventh Ward promenades
Description: Cartoon depicting the riots caused by the corrupt electioneering tactics and voter coercion during the first general mayoral election in New York City in 1834. In the right, the mob of people shout "Hurrah for Lawrence" ie. Cornelius Lawrence, the Tammany candidate and winner of the election. The crowd, including African American men depicted in racist caricature, carry pieces of wood as they chase the white man attired in a nightshirt and cap, probably New York merchant and 7th Ward Bank investor, Preserved Fish. A dog also runs after him. "Preserved Fish" runs past a building with a banner, "Hurrah for Gulian C. Verplanck," the Whig candidate who contended that he was defrauded of the office. The corrupt 7th Ward Bank funneled money to Tammany officers and supporters. In the left background, another crowd of men is visible., Title from item., Date inferred from content., 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: [1834]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1834 - 15W [5760.F.86x]

Title: I take it on my responsibility
Description: Cartoon critical of Andrew Jackson's decision to discontinue federal deposits to the Bank of the United States and his denial that his informal circle of close advisors, known as the "Kitchen Cabinet," influenced his decision. Depicts Jackson pinned to a column at the top of the stairs of the bank as he and other white men are being drenched by white men wielding fire hoses, one labeled "United States," in the street. Near Jackson, a kettle boils, fueled by burning papers labeled "Constitution" and "Globe," the pro-Jackson newspaper. Behind him several men, one labeled "K.C.," are involved in altercations. Other men run down the steps, one colliding with an African American man carrying barrels. In the street, a rotund white man, attired in a military uniform, observes the soaking of Jackson with delight while two other white men appear to be coming to Jackson's aid., Title from item., Date of publication 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., 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: [1834]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1834-12W [5760.F.57]

Title: Much ado about nothing or a militia court-martial!!
Description: Spoof on the decadence and pretensions of the American local militiamen of the Jacksonian era showing a courtmartial of a militiaman. Several white officers sit around a table, many dozing, others commenting on the trial's length, stipend, and eventual outcome. Behind them rest oversize militia hats and a sword inscribed in Latin, "Guided by Patriotism." Two African American men, portrayed in racist caricature and speaking in the vernacular, presume that the officer holding the "List of Witnesses" and who is inquiring about the defendant’s profession "...mus be Col. Pluck or some sich great man." The defendant claims that he is "a self taught gentleman" who "showed considerable genius for this profession." Col. Pluck was an illiterate hostler elected colonel of the 84th Pennsylvania militia in a controversial election in 1824., Title from item., Artist supplied by Reilly., Possible publication date supplied by Weitenkampf., Purchase 1970., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Johnston, known as the American Cruikshank, was a respected comic illustrator, engraver, and lithographer.
Creator: Johnston, David Claypoole, 1799-1865, artist
Date: [between 1832 and 1835]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1832-3 [7876.F]

Title: Jim Crow, the American mountebank performing at the Grand Theatre
Description: Full-length, caricatured portrait depicting Thomas D. Rice, known as the "father of American minstrelsy." Depicts Rice in Blackface as his African American racist shyster character of "Jim Crow" during his first performance in London. He is portrayed with exaggerated features and mannerisms. He dances and sings a version of the minstrel standard, "Jim Crow," in front of an audience of white British men, including the King. The song, which pokes fun at Americans, refers to William Blackstone and William Pitt Chatham, two influential English jurists, who wrote about early American law and politics. Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes. Jim Crow (mid to late 19th century) was a Minstrel character representing enslaved/rural Black manhood as foolish, lazy, interested in shirking labor., Title from item., Date inferred from content., Text printed on the recto: I come from America a long time ago, Since which I larn to wheel about & jump Jim Crow, Him used to study Blackstone ebry morn & arter noon, Me charm de House where Chatham died & dance inde saloon. Wheel about & turn about & do jis so. Ebry time I wheel about I jumpt Jim Crow., Description of Blackface minstrelsy and minstrel characters from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Accessioned 1982., 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: [1836]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1836 Jim [P.8738]

Title: Philadelphia fashions, 1837
Description: Racist cartoon depicting middle class African American Philadelphians used to arouse Northern anti-Black fears that well-to-do African Americans threatened the racial status quo. Depicts a physically attractive and elegantly dressed African American man and woman couple who have stopped during a stroll. The woman, attired in a large bonnet, elegant gown, and holding a parasol asks in the vernacular, "What you look at Mr. Frederick Augustus?" The man, attired in a suit, a top hat, and holding a walking cane in one hand and a monocle to his eye with the other answers, "I look at dat White loafer wot looks at me. I guess he from New York." The man and woman also each wear broaches depicting portraits. The couple are possibly prominent African American Philadelphians Frederick Augustus Hinton and Elizabeth Willson Hinton., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1837, by H.R. Robinson in the Clerk's Office of the Dist Court of the U.S. of the Southern District of N. York., Due to the similar content of this caricature to the prints from the series, "Life in Philadelphia," the lithograph has been catalogued as a part of the series., Purchase 1958., 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., E.W. Clay (1799-1857), born in Philadelphia, was a prominent caricaturist, engraver, and lithographer who created the "Life in Philadelphia" series which racially lampooned middle-class African American Philadelphians of the late 1820s and early 1830s.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: 1837
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1837 - Phi [6281.F]

Title: The times
Description: Satire depicting the economic depression and social misery of the working class following the Panic of 1837. Depicts a figure symbolizing President Jackson composed of a hat, spectacles, and pipe called "Glory" overlooking a city street. Lining the street is a hotel for sale; a Custom House doing no business; "The Mechanics Bank" during a run; the pawn shop of "Shylock Graspall"; a liquor store in front of which an African American shoe shiner greets another African American man; the Sheriff's office doing an active business; and attorney "Peter Pillage" being collected by his horse drawn carriage. In the foreground peaches and flour are for sale at exorbitant prices; several white men laborers sit and stand idle including a mason, sailor, carpenter, and driver; a widowed white mother and child beg a banker for money; and reminiscent of Hogarth's "Gin Lane," a white woman and a child lay on a straw mat next to a white man drunkard and seated militiaman. Visible in the background are an almshouse, "Bridewell" Debtor Prison, an idle wharf, and a deflating balloon marked "Safety Fund" symbolizing Van Buren's failed New Bank insurance program., Title from item., Date from copyright statement: Entered according to Act of Congress, in the Year 1837, by H.R. Robinson in the clerk's office of the District Court of the United States of the Southern District of New York., LCP exhibition catalogue: Made in America #52., 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., Clay, born in Philadelphia, was a prominent caricaturist, engraver, and lithographer.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: 1837
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1837-8 [5760.F.75]

Title: The smokers
Description: Cartoon concerning smoking as a vice depicting a crowd scene where everyone smokes, including women and children. In the foreground, a white man sits on a wooden chair holding a pipe in hand, refers to his "illustrious predecessor," Andrew Jackson. Two white boys light their cigars together. A finely dressed white woman carrying a parasol is horrified and says, "Oh! The monsters, I'm half blinded and suffocated" as she holds her nose. An elegantly dressed African American woman holds her hand to her nose and exclaims, "What a nasty practice, it's enough to make a dog sick." In the right, a white man street peddler carries a tray of plaster busts, including a pipe smoking Jackson. "Jack Downing," cigar in hand, states he picked up the habit in France and that his lighter was made from Jackson's spectacles but thinks a loco-foco (a faction of the Democrats who were named after a type of match) would go quicker. An African American chimney sweep and an African American shoe shiner shake hands with cigars in their mouths. They are portrayed in racist caricature and speak in the vernacular about smoking. "I say Josh, wot you smoke dem long nines for, why don't you smoke Half Spanish like a gen'leman." "Cause I've called in my Shin Plasters, and suspended Specie payments!!", Title from item., Date from copyright statement: Entered according to act of Congress, in the Year 1837, by H.R. Robinson, in the Clerk's Office of the District Court of the U.S. of the Southern Dist. of New York., Text printed on recto: Tobacco is a stinking weed, It was the Devil sow'd the seed, It drains the purse & fouls the clothes, And makes a chimney of the nose., 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., Clay, born in Philadelphia, was a prominent caricaturist, engraver, and lithographer.
Creator: Clay, Edward Williams, 1799-1857, artist
Date: 1837
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1837-25W [5656.F.3]

Title: The Great Rohan & the cattle market
Description: Cartoon depicting a pasture with a tree at the center that shows a white man growing from it. The man holds a paper entitled, "Coal is coal," and states that he needs his roots covered. On one of the branches, perches a figure with the body of a bird and the head of a man who states, "The rascally Whigs killed poor Cilley," a reference to the death of Maine Congressman Jonathan Cilley in a duel with Kentucky Congressman William J. Graves. Surrounding this figure are white men and cattle. In the right, a man attired in a long coat and top hat states that the cattle will not feed on "Rohans" and “if we could whip in the miserable conservatives, it would be really ‘contholing.’” Two other men scrounge on the ground, one labeled "Green Pear" who asks to be let up the "Rohan," and the other, who bemoans being overshadowed by the image of a bloody hand. In the left, an African American man portrayed in racist caricature speaks in the vernacular, “Hold on Massa Gineral, it be oh no use to go to dat market,” as he tries to reign in cattle with human heads that are labeled "Hampton Bull." In the right background, an onlooker warns a cattle driver who is being trampled that he can not drive them., Purchase 1987., 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: [1838]
Location: Library Company of Philadelphia | Print Department Political Cartoons - 1838-19 [P.9192.3]

Title: Girard College; Merchant's exchange Girard's waisen hau bei Philadelphia; Kauffmann's borse in Philadelphia
Description: Lettersheet containing views of two Greek Revival buildings: Girard College at Girard Avenue near Corinthian Avenue and the Merchants' Exchange at 3rd and Walnut Streets. College buildings, designed by Thomas Ustick Walter, were constructed 1833-1847 as a school for orphans. Merchants' Exchange, designed by William Strickland and constructed 1832-33, was one of the earliest stock exchanges in the United States., Philadelphia on Stone, POS 310
Date: [ca. 1840]
Location: Library Company of Philadelphia | Print Department BW - Education [P.9454.7]

Title: Friends' Asylum for the Insane near Frankford
Description: Exterior view of the almshouse building as it appeared after two patient wings were added to the original structure in 1827. Includes men standing in the foreground and animals grazing. The grounds of the mental institution, formerly a fifty-two acre farm in Oxford Township, were purchased by the Society of Friends in 1813, near Frankford. The hospital opened to patients four years later in 1817., Published as the frontispiece of the annual reports of the asylum (entitled: ... Annual Report of the State of the Asylum for the Relief of Persons Deprived of the Use of Their Reason) from 1836 to 1840., Philadelphia on Stone, POS 285, Library Company of Philadelphia: P.2049 and in Am 1814 Phi Asy (box) 51117.O.6; 51117.O.9; and 51908.O.5., Historical Society of Pennsylvania
Creator: Lehman, George, d. 1870, artist
Date: [1836]
Location: Library Company of Philadelphia | Print Department W144 [P.2049]

Title: [Manayunk]
Description: Landscape view showing a couple walking along the bank of the river near the industrial village. A large tree stands in the foreground and small factories and dwellings are visible in the background. Also shows tree groves, rocks, and ground cover., Artist, title, and publication information from duplicate in the collections of the Free Library of Philadelphia., Philadelphia on Stone, POS 454, Retrospective conversion record: original entry, edited., Reaccessioned as P.2188., Manuscript note with incorrect information on mount: Schuylkill River at Manayunk near Philadelphia. Augustus Kollner., Free Library of Philadelphia: Philadelphiana - Manayunk
Creator: Lehman, George, d. 1870, artist
Date: [1830]
Location: Library Company of Philadelphia | Print Department *W225 [7845.F]

Title: Old Nick in Wall Street
Description: Cartoon mocking Nicholas Biddle, president of the controversial Bank of the U.S., as a corrupt emperor of finance served by New York's financial district. Depicts a self-effacing Biddle on the steps of a bank delivering a speech to a large crowd of his obsequious cheering subjects comprised of bankers and brokers. Two men, possibly New York editors accused of accepting bribes in return for publishing pro-Bank articles, Charles King and/or Mordecai Manual Noah and/or James W. Webb, hoist him on their knees. Biddle declares that he will bear the burden of the attacks of the Bank opponents as those before him will acquit him of scandal. In the far left background, a group of men describe Biddle as a monster and allude to his dubious relationship with New York merchant Silas E. Burrows, who was accused of bribing Noah and Webb. Contains a fabricated verse below the image from the popular poem "The Devil's Walk," commonly misattributed to Robert Porson (as in the cartoon) about the faithless servility of Satan's subjects., Retrospective conversion record: original entry, edited.
Date: [1832?]
Location: Library Company of Philadelphia | Print Department political cartoons - 1832-18W [5760.F.50]

Title: A confederacy against the Constitution and the rights of the people with an historical view of the component parts of this diabolical transaction
Description: Cartoon during the Bank War satirizing the Whig Party as greedy, anti-democratic, pro-Bank, pro-business infidels who worship in the Temple of Mammon to the false god of riches. Atop the temple, a white man, holding a flag inscribed "No Veto! The Bank! Down with Democracy!" kneels on a pedestal inscribed "Bank Candidate. War, Pestilence, and Famine." Within the temple sit symbolic and political figures including: the Devil representing the "Hartford Convention" of 1815, which debated Northern secession; the "High Church" as a clergyman pleading for donations to preach; the "High Priest" Henry Clay with his "U.S. Bank Book" sitting on his throne the "Chair of State"; the "High Chancellor," Bank of the United States president, Nicholas Biddle pouring out a bag of money to buy newspaper editors; a Northerner ("High Tarrif") discussing slavery, "You Southern Barons have black slaves will you not allow us to make white slaves of our poor population in our Manufacturing Baronies"; and southern pro-nullification senator John C. Calhoun ("No Tariff"), who bemoans his association with Whigs in his personal campaign against political rival Martin Van Buren. In the foreground, worshipers, including monkeys, pray and are chained near a printing press, pro-Bank newspapers, and flags and banners. The flags and banners denigrate "Jefferson," "democracy," and "equal rights" and support "high tariffs," the "merchant class," the "Bank of the United States," and "white slavery.", Title from item., Artist's initial lower left corner: H., Probably published by labor radical Seth Luther., Retrospective conversion record: original entry, edited., Lib. Company. Annual report, 2001, p. 27, 30., 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., 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: [1833?]
Location: Library Company of Philadelphia | Print Department political cartoons - 1833-20 [5760.F.43]

Title: Banks & bribery, v.s. balls & bumbs scene 1st Or the destruction of aristocracy monopoly and oppression
Description: Cartoon concerning President Jackson's destruction of the Bank of the United States, including his veto of the Bank's recharter and the removal of its federal deposits. Depicts Jackson, "Jack Downing," and others attacking the Bank with axes, "veto mortar," and cannon balls. Jackson and "Downing" hollar about "smashing down" "Monopoly & Oppression" as well as the absence of a "nest of varmants" when the house was originally built. Members of Bank investigative "committees" flee the building, while others are crushed under the bank, its "deposit pillar" destroyed. Spectators, including evil sprites, run a press, clamor for tossed money bags labelled with alleged bribery amounts, and scream "This is a fair business transaction." Also includes sheets of paper scattered on the ground inscribed with allusions to the Bank War, including"Deranged Currency" and "Petitions.", Manuscript note on verso: From his Aunt Isabella 1840., Previous owner, probably C.P. Lukens. See Congressional Elephant political cartoons - 1832 - 2 (5760.f.42)., Retrospective conversion record: original entry, editions.
Date: [1834?]
Location: Library Company of Philadelphia | Print Department political cartoons - 1834-4W [5760.F.58]

Title: Plan of the new city of Pensacola
Description: Property map showing building lots, streets, and squares between Pensacola Bay, Bayou Texar, and Cervalos Street. Also shows the Pensacola and Blakely Railroad and depot, a cemetery, a park, and Bayou Cadet., Relief shown pictorially., Depth shown by form lines., Facsmile of signed statement of authenticity printed below title: A true copy from the original, George E. Chase, Surveyor; W.H. Chase, Trustee., Includes notes about the size of the lots and about sold lots being bounded by heavy lines., Includes lot numbers., Retrospective conversion record: original entry, edited.
Creator: Price & Graham
Date: [ca. 1836]
Location: Library Company of Philadelphia | Print Department **maps [301 M 1], Library Company of Philadelphia | Print Department **maps [301 M 7]

Title: St. Luke's Church, 1840
Description: Floor plan of the Protestant Episcopal church built 1839-1840 after the designs of Thomas S. Stewart at 330 S. 13th Street. Shows the 184 pews; chancel, including pulpit, reading desk, and communion table; vestry room; fire proof room; aisles; south, north, and organ galleries; Sunday School benches; vestibule; portico; terrace, and gates. Pews printed with a row number, value, and "sittings." Values range from $50 to $850. Several pews are also inscribed with the names of pew owners. Pew owners include Sam. Breck, Jas. Dundas, S. Whitman, Benj, Stiles, T. S, Stewart (archt.); and W. Strickland., Printed on recto: The Choice of Pews will be disposed of by Auction in October next. The price is marked in each pew. The terms of sale will be one third Cash and the balance may be paid in notes at one and two years adding interest. September 1840., Scale: 8 Ft to the inch., Philadelphia on Stone, POS 710, Retrospective conversion record: original entry, edited.
Date: 1840
Location: Library Company of Philadelphia | Print Department *BW - Churches and meetinghouses - S [P.9178.25]

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: Life in New York. Inconvienency of tight lacing
Description: Caricature satirizing early 19th-century, middle-class men’s fashion, specifically male corsets. Depicts a scene in front of a fence at New York's “St. John’s Park” where a white dandy dressed in a top hat, ruffled shirt, and slip on shoes holds onto a lamp post, his right leg up, outstretched, and held by a dandy man companion. He holds his head back and his right hand toward his mouth. The friend, similarly attired in a top hat, waistcoat, and stiped pants crouches with his legs apart. Both are unable to bend. A "practically" attired, older man wearing an overcoat, vest, pants, and boots stands to the right and observes the scene. He states that he will report the event to the "Morning Courier & N.Y. Enquirer." Scene also shows dense foliage and a tree in the park behind the fence., Title from item., Date inferred from content and name of publisher., Inscribed: No.4., Inscribed: St. Johns Park, Sept. 28, 1829., 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.
Date: [ca. 1830]
Location: Library Company of Philadelphia | Print Department Life in New York (New York Set) [P.9704.2]

Title: Fanny Kemble
Description: Bust-length portrait of the abolitionist, author, dramatist, and actress in the character of Julia, written specifically for her by Sheridan Knowles for his play "The Hunch Back." Her memoir, "Residence of a Georgian Plantation (1863)," described the degradation and inhumanities of slavery witnessed by Kemble while living at the plantation of her Philadelphian husband, Pierce Butler, from 1838 until 1839., Title from manuscript note on verso., Date from copyright statement: Entered acccording to act of Congress in the year 1833 by Childs & Inman in the Clerks Office of the District Court of the Eastern Distrcit of Pennsylvania., Original painting by Sully located at the Rosenbach Museum & Library in Philadelphia., Sully, a respected Philadelphia portrait painter and friend of Kemble, painted thirteen portraits of the actress, the majority by recollection., Originally part of a McAllister scrapbook of portraits., Description revised 2021., Access points revised 2021., McAllister Collection, gift, 1886.
Date: 1833
Location: Library Company of Philadelphia | Print Department *portrait prints - K [5657.F.25]

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