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Title: [Morgan & Headly trade cards]
Description: Series of illustrated trade cards promoting jewelers Morgan & Headly in the Mutual Life Building at the northwest corner of Tenth and Chestnut Streets in Philadelphia. Trade card depicts a large diamond jewel [1975.F.579]. Illustrated trade card depicts a caricaturized Japanese woman and boy playing a horn. The woman, wearing her hair tied up and decorated with kanzashi (decorative hair ornaments) and attired in a floral patterned kimono, stands before a Japanese-style building. She leans her left arm over a wall and looks down at a boy, wearing a shaved head with a small ponytail and attired in a tunic, a belt, pants, and cloth, slip-on shoes, playing a horn next to a bird with its beak open [1975.F.592]. Trade card depicting a Japanese-stylized scene of a crane bending over and cleaning its feathers with its beak. Also includes flowering tree branches [1975.F.593]., Title supplied by cataloger., Date inferred from content and history of the advertised business., One print [1975.F.579] contains vignette printed on verso depicting a hand-held fan superimposed onto a ribbon., RVCDC, Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department trade card - Morgan [1975.F.579; 1975.F.592 & 593]

Title: Waterbury Drug Store, established 1797. Leavenworth & Dikeman, Exchange Place, Waterbury, Conn
Description: Series of illustrated trade cards containing "Fishing" showing a white man and woman couple fishing in a rowboat with a pet dog that has its head in their picnic basket; "Caught on the fly" depicting a white man attached to the hook of his own fishing rod as he stands next to a stream; "We met by chance, or waiting for the swell" showing a white man floating on a wave in the ocean and colliding with a white woman as she stands in the ocean near other white women and children; "What are the wild waves saying sister?" depicting a boy, attired in overalls and a wide-brimmed hat, standing next to his sister, attired in a bonnet and long-sleeved dress, looking out at the ocean with their backs to the viewer; "Oh, come and see us" showing a group of white children standing in a pond jeering at an older, white man who stands on dry land in the foreground; and "Scoot, brother scoot!" depicting an African American boy and girl holding hands and scurrying from the approaching waves of the ocean. Leavenworth & Dikeman, the partnership between Elisha Leavenworth and Nathan Dikeman, operated in Waterbury, Connecticut between 1850-1890., Title from item., Date inferred from dates of operation of advertised business., Four prints [P.9828.7033-7036] printed by Phoenix Card Co., N.Y., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of William H. Helfand., 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: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Helfand Patent Medicine Trade Card Collection - Pharmacists - W [P.9828.7031-7036]

Title: Is dese' your chickens miss Compliments of Durant & Oehlmann, druggists, 518 Hampshire St., Quincy, Ills
Description: Racist trade card depicting an African American man, portrayed in racist caricature and attired in a torn hat and shirt, on the ground with baby chicks in front of him. In the left, a white woman with a pitchfork leans over a fence to observe the scene and surprises him. Durant & Oehlmann, the partnership between Dr. Joseph F. Durant (b. 1831) and Charles Oehlmann (1849-1921), operated in Quincy, Illinois between 1875 and 1888., Title from item., Date inferred from date of operation of advertised business., Advertising text printed on verso promotes Falke's Sulpholine Cream and Falke's Kah-Kan-Kee Hair Restorative manufactured by J. Falke & Co., 418 Elm St., St. Louis., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of William Helfand., 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: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Helfand Patent Medicine Trade Card Collection - Pharmacists - D [P.9828.5810]

Title: [Scrapbook with linen pages]
Description: Scrapbook containing scraps, cutouts, periodical illustrations, and trade cards. Contents depict sentimental, genre, and religious scenes; images of children, animals, mothers and mothering; fancy heads; patriotic, historical, and allegorical figures, including George and Martha Washington; advertisements for Philadelphia, Hartford (Conn.), and New York businesses, including promotions for druggists, patent medicines, and soap; imagery documenting the Centennial Exhibition 1876, including portraits of prominent figures; figures in European costumes; scenes of rural life and European scenery; and landscape views. Also includes a small number of views of factories and industrial buildings; a patent medicine advertisement including an African American man servant character opening a door (p. 76); a print depicting a stanza from Robert Burn’s “The Cotter’s Saturday Night” (p. 22); illustrations of Little Red Riding Hood; the periodical cartoon “A Parent’s Vengeance” (p. 53); "La Belle Chocolatiere from the original painting by Leotard now in the Dresden Gallery" (p. 57); a cutout from a women’s fashion plate (p. 77); H.M.S. Pinafore theatrical character illustrations printed by Ledger Job Printing Office (p. 64); and a calling card for Mary S. Bassett (back inside cover)., Businesses represented include B. T. Babbit (soap); Clark’s O.N.T. (thread); C. F. Rump (leather goods); Corning & Tappan (perfumes); Marburg Bros. (tobacco); Devlin & Co. (clothiers); Dundas, Dirk & Co. (pharmacists); [Hiram] Duryea’s Starch Works; Fairbanks scales (E. & T. Fairbanks & Co.); J. Milton Brewer (druggist); C. L. Hauthaway & Sons (shoe polish); Charles S. Higgins (German laundry soap); The New York Bazar (fancy goods, Phillip Isaacs, proprietor); Demorest’s Monthly Magazine (W. J. Demorest, publisher); Edwin C. Burt (shoes); E. P. & Wm. Kellogg; Samuel Gerry & Cos. (patent medicine); Alex. Boost (analytical chemist); Chas. F. Hurd & Co. (chinaware); E. P. & Wm. Kellogg (photographers & art dealers); and Willcox & Gibbs (sewing machines)., Title supplied by cataloger., Front cover stamped: Scrap Book, Various artists, engravers, and printers including F. Beard; Illman Bros.; Ledger Job Print; L. Prang & Co.; Major & Knapp; Thomas Moran; and Shober & Carqueville., Cutouts and calling card pasted to inside front and back covers., Edges of scrapbook leaves contains stitching in different colors, including yellow, green, blue, red, lilac, and purple., Purchased with funds for the Visual Culture Program., Housed in phase box., RVCDC, Description revised 2021., Access points revised 2021.
Date: [ca. 1876-ca. 1879]
Location: Library Company of Philadelphia | Print Department albums - Linen [P.2013.69.1]

Title: Philharmonic T[h]eatre, Islington. Every evening at eight. [Sa]turday at three and eight. Sam Hague's Ori[gi]nal Slave Troupe at St. James's Hall, Li[me] Street, Liverpool. Every evening at 8, Saturdays at 3 & 8, all the year round. Positively for four weeks on[ly] commencing Monday, Feb. 14th. Terminat[ing] [on] March 11 [ ] been re-built since the fire), St. James Hall, Liverpool, March 13th, 1876
Description: Advertising print depicting a racist scene to promote Sam Hague's Original Slave Troupe after their dislocation from their permanent home theatre, St. James Hall, following a fire in 1875. Shows a rhinoceros, a bell on his tail, pulling a cart on which members of the minstrel troupe, portrayed as Black men and women caricartures, perform. On the head of the animal, a man sits, his legs straight out while he holds the pole of a banner designed as an American flag and that is marked with advertising text for the troupe. On the animal's back, men and a woman stand, play hand instruments, and dance on a raised plank. On the cart, men play string and wind instruments, including a bass and trombone, as well as one man, bare-chested and in boxing pants, holds up an open umbrella, on which another man sits and plays the drum. The men figures are attired in suits and/or shirt sleeves and pants. The woman figure wears a kerchief, long-sleeved shirt, with the sleeves pulled up and apron-like, checkered skirt. Scene also includes blades of grass and a flowering plant in the foreground. Sam Hague's Original Slave Troupe evolved from the Georgia Slave Troupe Minstrels for which Samuel Hague assumed part management in 1866. Within the year, the troupe of formerly enslaved individuals, including singers, comedians, and minstrels, traveled to Great Britain to tour the country. In 1869, Hague acquired St. James Hall in Liverpool as a permanent home for the company, as well as a site to organize touring companies. In 1875, the hall was razed by fire and for the next year, the Troupe performed from other theatres such as Philharmonic Theatre, Islington. By this time, the Troupe was mainly comprised of white performers who performed in Blackface and Hague had managed the Troupe with a few different partners., 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., Title from item., Date inferred from promotional text on item., RVCDC, Description of Blackface minstrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Print torn in half and with sections missing.
Date: [1876]
Location: Library Company of Philadelphia | Print Department **GC - Advertisements - Samuel Hague [P.2022.57.1]

Title: Red hot Republicans on the Democratic Gridiron. "The San Domingo war dance."
Description: Cartoon satirizing liberal Republicans opposed to the Grant administration's proposed annexation of San Domingo. Depicts the devil holding a gridiron above a roaring flame upon which several bare-footed Republicans are jumping up and down from the heat including Carl Schurz, Charles Sumner, Horace Greeley, and probably Schuyler Colfax and Winfield Scott Hancock. Missouri senator Schurz cries, "I am loud on San Domingo, And I can't be stopped by jingo; Tho' the pain I bear provokes me, And the smell of brimstone chokes me." Sumner calls to two African American men who witness the scene from a cliff, "Come Sambo! jump right on the Gridiron with the rest, while its hot and lively." They reply in the vernacular, "no you don't Massa Sumner; Old Secesh Debble hold dat Gridiron and I guess you burn your foot." Comments from the roasting Republicans demonstrate their disapproval of Grant., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1872 by Currier & Ives in the office of the Librarian of Congress in Washington., 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., John Cameron was a Scottish lithographer who worked for many years with the renowned New York lithographic firm Currier and Ives.
Creator: Cameron, John, approximately 1828-, lithographer
Date: 1872
Location: Library Company of Philadelphia | Print Department political cartoons - 1872-1 [6282.F]

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