Series of trade catalog illustrations showing different styles of chandelier lamps produced by the chandelier works in Frankford. Includes views of three-, four-, and six-light chandliers with globe-, bell-, and fluted-shaped glass shades, Style numbers include no. 362, no. 363, no. 404, no. 457 and no. 661 (including "for Coal Oil"). Prints also includes the spread (from 19 to 36 in.) of the light fixtures., Three of the four prints contain plate numbers in upper right corner: Plate 59, 62, and 63., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Boell relocated his establishment to 312 & 314 Walnut Street in 1868.
Creator
Boell, William
Date
[ca. 1866]
Location
Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.229-230]
Series of trade catalog illustrations showing different styles of chandelier lamps produced by the chandelier works in Frankford. Includes views of three-, four-, and six-light chandliers with globe-, bell-, and fluted-shaped glass shades, Style numbers include no. 362, no. 363, no. 404, no. 457 and no. 661 (including "for Coal Oil"). Prints also includes the spread (from 19 to 36 in.) of the light fixtures., Three of the four prints contain plate numbers in upper right corner: Plate 59, 62, and 63., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Boell relocated his establishment to 312 & 314 Walnut Street in 1868.
Creator
Boell, William
Date
[ca. 1866]
Location
Library Company of Philadelphia | Print Department albums - Specimens Album [P.9349.229-230]
Exterior view of the Delaware County residence used as a headquarters by the French general Marquis De La Fayette before the American Revolutionary battle in September 1777. Several trees line the property. The residence owned by Quaker farmer Gideon Gilpin was plundered by the British following the American's loss of the battle., Manuscript note on recto: Dwelling of Gideon Gilpin., Published in George Smith's History of Delaware County (Philadelphia : Printed by Henry B. Ashmead, 1862) opp. p. 381., Philadelphia on Stone, POSP 109, Gift of David Doret.
Creator
Tholey, Charles P., d. 1898, artist
Date
[1862]
Location
Library Company of Philadelphia | Print Department BW - Residences - G [P.2006.31.2]
Engraving depicts an episode from Chapter XIV, "How the Flight Ended." Here, the fictional characters Maum Guinea, Rose, and Hyperion, fugitive slaves hiding in a cavern, are discovered by a party of whites that includes a colonel and a judge., Illustration in Metta Victoria Fuller Victor's Maum Guinea, and her plantation "children" (London: Beadle and Company,44 Paternoster Row; New York: Beadle and Company, 141 William Street, 1861), p. 206., Fels Afro-Americana Image Project, Resistance.
Creator
N. Orr & Co., engraver
Date
[1861]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1861 Victo 70421.O p 206, https://digital.librarycompany.org/islandora/object/Islandora%3A2807
Bitter anti-slavery print depicting a group of slaves about to whip their white overseer, who has been bound to a tree on the plantation grounds. Before the overseer, the male slave holding the whipping lash boldly pulls up his sleeve as the slave next to him takes off his hat in a mock gesture of respect. Smiling men, women, and children of all ages stand, sit, and lean on a fence, surrounding the overseer in anticipation of his whipping., Illustration in New York Illustrated News, November 28, 1863, p. 73., Also published as a loose print by the African American press, Robert and Thomas Hamilton, possibly the first black press to publish separate prints., Fels Afro-Americana Image Project, Resistance.
Date
[1863]
Location
Library Company of Philadelphia | Books & Other Texts | Rare **Per D 8.5 1571.F Nov 28 1863 p 73, https://digital.librarycompany.org/islandora/object/Islandora%3A2863
Image is accompanied by a verse, which begins as follows: "B Stands for Bloodhound. On merciless fangs / The slaveholder feels that his "property" hangs, /." With his arms extended over his head, an escaped slave falls to his knees. Behind him, a bloodhound bites at his shoulders and claws his thigh; two other dogs surround him., Illustration in Abel C. Thomas's Gospel of Slavery (New York: Published by T.W. Strong, 1864), n.p., Fels Afro-Americana Image Project, Fugitives.
Date
[1864]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Thoma 50969.D vignette B, https://digital.librarycompany.org/islandora/object/Islandora%3A2814
Image is accompanied by a verse, which begins as follows: "F Stands for Fugitives hasting from wrath, / And furies are hot on their dangerous path. /." A group of four fugitive slaves, including a mother and child, hide in a thicket, hoping to avoid the bloodhounds who trail them. To the left, in the distant background, an American flag waves., Illustration in Abel C. Thomas's Gospel of Slavery (New York: Published by T.W. Strong, 1864), n.p., Fels Afro-Americana Image Project, Fugitives.
Date
[1864]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Thoma 50969.D vignette F, https://digital.librarycompany.org/islandora/object/Islandora%3A2815
Image is accompanied by a verse, which begins as follows: "K Stands for Kidnapper. Whoso receives / What others have stolen, is leagu'd with the thieves. /." In this night-time scene, a bearded kidnapper uses one knee to pin a fugitive slave to the ground in a face-down position. With a dagger between his teeth, the kidnapper leans over the slave, and bends his left arm behind his back. Handcuffs lie on the ground next to him., Illustration in Abel C. Thomas's Gospel of Slavery (New York: Published by T.W. Strong, 1864), n.p., Fels Afro-Americana Image Project, Fugitives.
Date
[1864]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Thoma 50969.D vignette K, https://digital.librarycompany.org/islandora/object/Islandora%3A2816
Three engravings accompanying the article "A Typical Negro." The text identifies them as "portraits" of Gordon, a fugitive Mississippi slave who joined the Union army in Baton Rouge. According to the unnamed author, the engravings were taken from photographs by McPherson and Oliver. The engraving on the left bears the title "Gordon as he entered our lines." It shows Gordon sitting on a stool with his hands folded on his lap and one leg crossed over the other. His clothing is frayed and tattered, and he wears no shoes. As the author explains, Gordon "entered our lines, with clothes torn and covered with mud and dirt from his long race through the swamps and bayous, chased as he had been for days and nights by his master with several neighbors and a pack of blood-hounds; . . . ." The middle engraving is titled "Gordon under medical inspection." Here, Gordon is seated on a stool with his bare back facing the viewer. The image offers a detailed view of the wounds and scars that cover his back. As the author commented, the engraving "shows him as he underwent the surgical examinations previous to being mustered into the service -- his back furrowed and scarred with the traces of a whipping administered on Christmas day." The portrait on the right is titled "Gordon in his uniform as a U.S. soldier." It shows Gordon in full military uniform, with all of his gear and his musket. This engraving, the author notes, "represents him in United States uniform, bearing the musket and prepared for duty.", Illustration in Harper's Weekly, vol. 7, no. 340 (July 4, 1863), p 429., Fels Afro-Americana Image Project, Fugitives.
Date
[July 1863]
Location
Library Company of Philadelphia | Books & Other Texts | Rare **Per H 1529.F v 7 n 340 July 4 1863 p 429, https://digital.librarycompany.org/islandora/object/Islandora%3A2877
Illustration accompanies part five, "Domestic Amusements in the Slave States." Trailed by a pack of bloodhounds and several mounted authorities armed with rifles, a slave family tries to make their escape. To the right, on the bank of a river, two authorities aim their rifles at a drowning slave, who is approached by a group of white men in a boat., Illustration in the Suppressed Book about Slavery! (New York: Carleton, 1864), p. 336., Fels Afro-Americana Image Project, Fugitives.
Creator
Van Ingen & Snyder, engraver
Date
[1864]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Suppr 15191.D p 336, https://digital.librarycompany.org/islandora/object/Islandora%3A2813
Illustration accompanies part five, "Domestic Amusements in the Slave States." It shows a family of runaway slaves as they try to defend themselves from a pack of bloodhounds. Behind them, two slavehunters aim their rifes at father, mother, and child., Illustration in the Suppressed Book about Slavery! (New York: Carleton, 1864), p. 288., Fels Afro-Americana Image Project, Fugitives.
Creator
Van Ingen & Snyder, engraver
Date
[1864]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Suppr 15191.D p 288, https://digital.librarycompany.org/islandora/object/Islandora%3A2812
Engraving accompanies Chapter XVIII of Livingstone's travel narratives; it portrays an incident that he witnessed in the village of his friend Mbame. As Livingstone explained, " . . . [a] slave party, a long line of manacled men, women, and children, came wending their way round the hill and into the valley, on the side which the village stood. The black drivers, armed with muskets, and bedecked with various articles of finery, marched jauntily in the front, middle, and rear of the line; some of them blowing exultant notes out of long tin horns." (p. 356) Livingstone noted, however, that the black drivers fled as soon as they saw him and his fellow Englishmen. Livingstone and his party thus freed the captives (who were most likely Manganja). "It was more difficult to cut the men adrift," he wrote, "as each had his neck in the fork of a stout stick, six or seven feet long, and kept in by an iron rod, which was riveted at both end across the throat. With a saw, . . . one by one the men were sawn out into freedom." (p. 356-57), Plate in David Livingstone's Narrative of an Expedition to the Zambesi and its Tributaries: and of the Discovery of the Lakes Shirwa and Nyassa, 1858-1864 (London: John Murray, 1865), p. 356., Fels Afro-Americana Image Project, Scenes from the Slave Trade.
Creator
Whymper, Josiah Wood, 1813-1903, engraver
Date
[1865]
Location
Library Company of Philadelphia | Books & Other Texts | Rare U Afri Livin 16307.O p 356, https://digital.librarycompany.org/islandora/object/Islandora%3A2925
Engraving accompanies Chapter XXIV of Livingstone's travel narrative. It shows four women working in the Ngabi district: one carries a basket on her head, while three others (including one woman with a child on her back) till the soil with hoes."The only instrument of husbandry here," Livingstone noted, "is the short-handled hoe; and about Tette the labour of tilling the soil, as represented in the woodcut, is performed entirely by female slaves." (p. 499), Illustration in David Livingstone's Narrative of an Expedition to the Zambesi and its Tributaries: and of the Discovery of the Lakes Shirwa and Nyassa, 1858-1864 (London: John Murray, 1865), p. 499., Fels Afro-Americana Image Project, Africa: Images, Maps, and Geography.
Date
[1865]
Location
Library Company of Philadelphia | Books & Other Texts | Rare U Afri Livin 16307.O p 499, https://digital.librarycompany.org/islandora/object/Islandora%3A2926
According to the accompanying commentary (p. 69), these scenes show the Buena Vista plantation in Clarke County, Alabama. As the text suggests, "The four sketches in the centre [i.e., sowing, ploughing, hoeing, and picking] show the principal operations of the cotton culture; and around figure other scenes appropriate to a cotton plantation." Moving clockwise from the upper right, the outer scenes are titled: the cotton gin, the planter and his overseer, prayer meeting, Saturday evening dance, plantation graveyard, the call to labor, and the cotton press. The text describes these scenes as follows: "The cotton-gin; the picturesque cotton-press, to whose long lever the mules are harnessed to create the power which compresses the ginned staple into bales; the morning call, performed upon a cow-horn; the owner and his overseer, figure here; as well as the weekly distribution of rations; the dance which closes the week's labor, and the plantation burying-ground. Here the defunct negroes are buried, a rail-fence being raised above the graves to keep off marauding hogs, calves, etc.", Double-page illustration in Harper's Weekly, vol. XI, no. 527 (February 2, 1867), p. 72., Fels Afro-Americana Image Project, Scenes from Slave Life.
Date
[February 1867]
Location
Library Company of Philadelphia | Books & Other Texts | Rare **Per H 1529.F v XI n 527 February 2 1867 p 72, https://digital.librarycompany.org/islandora/object/Islandora%3A2879
Advertisement containing a view of the refinery complex in Northern Liberties. View surrounded by an ornamental border. Includes the office building adorned with signage. Horse-drawn wagons travel and are parked in front of the buildings. A man on horseback passes coal bins lining the side of the multi-storied processing plant of the complex. Also shows smokestacks and a tank. Advertising text flanking the view promotes "Double Loaf," two types of "A Crushed" "Patent Cut Loaf," "Chip Crushed," "Pulverized," "Lozenge do." and "Granulated" in addition to "A" "B" and "C" coffee and "X Yellow" and "Yellows.", Not in Wainwright, Published in Edwin T. Freedley’s Philadelphia and its manufactures : a handbook of the great manufactories and representative mercantile houses of Philadelphia in 1867 (Philadelphia: E. Young, 1867), opp. p. 472., Philadelphia on Stone, POS 246, Historical Society of Pennsylvania: Print Collection - Small - Stores & Factories, Box 57, Folder 6
Date
[1867]
Location
Historical Society of Pennsylvania HSP Print Collection - Small - Stores & Factories, Box 57, Folder 6
Engraving depicts a fictional episode from Chapter IV, "Christmas." The scene takes place on Fairfax Plantation on Christmas day. The newly married couple, Jim and July, dance merrily to the music of fiddles, banjos, and tamborines, while other slaves look on. The pair are still dressed in their wedding attire: July is described as "resplendent in a white dress, white cotton gloves, a string of mock-pearls about her neck, and a wreath of silver flowers about her head," while Jim wears "a gorgeous waistcoat, had a sprig of flowers in the button-hole of his coat, and also sported white cotton gloves." According to the text, a bonfire provided the illumination for these festivities, which grew gayer as evening turned into night., Illustration in Metta Victoria Fuller Victor's Maum Guinea, and her plantation "children" (London: Beadle and Company,44 Paternoster Row; New York: Beadle and Company, 141 William Street, 1861), p. 46., Fels Afro-Americana Image Project, Scenes from Slave Life.
Creator
N. Orr & Co., engraver
Date
[1861]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1861 Victo 70421.O p 46, https://digital.librarycompany.org/islandora/object/Islandora%3A2808
From left to right, the group portrait shows: Wilson Chinn, a man of about sixty, whose forehead was branded with the initials V.B.M.; Charles Taylor, an eight year-old boy identified in the accompanying text as white; August Broujey, a nine year-old girl whose mother was "almost white;" Mary Johnson, an adult woman; Isaac Watts, a black boy of nine; Rebecca Huger, an eleven year-old, who "to all appearance . . . is perfectly white;" the Reverend Robert Whitehead, an ordained preacher; and Rosina Downs, a "fair child" of "not quite seven years." In addition to the group portrait, cartes de visite of the individual sitters were made. As the accompanying text explains, both could be purchased through the New York-based National Freeman's Relief Association; the proceeds went to support Louisiana schools., Full-page illustration in Harper's Weekly (New York: Harper & Brothers, 1864), vol. 8, no. 370 (January 30, 1864), p. 69., Small caption underneath the image reads: "Emancipated slaves, white and colored. -- The children are from the schools established in New Orleans, by order of Major-General Banes.", Fels Afro-Americana Image Project, Anti-Slavery Movement Imagery.
Date
[January 1864]
Location
Library Company of Philadelphia | Books & Other Texts | Rare **Per H 1529.F v 8 n 370 Jan 30 1864 p 69, https://digital.librarycompany.org/islandora/object/Islandora%3A2878
Illustration included in Chapter V, "Unyamuezi." Unyamuezi [i.e., Unyamwezi] was one of the largest kingdoms in East Africa; its people are called Wanyamezi. As the title suggests, the engraving shows a Wanyamezi harvest in 1861. Corn, which grew abundantly on the richly cultivated land, is shown at the top. In the center, four men thrash the corn with long-handled paddles. At the bottom, women are shown cutting, separating, and grinding the corn., Illustration in John Hanning Speke's Journal of the Discovery of the Source of the Nile (New York: Harper & Brothers, 1864), p. 129., According to a note on the title-page, the book's illustrations are "chiefly from drawings by Captain Grant.", Caption reads: "1, 2, 3, 4. Grain. Maize, etc., stacked for the season. 5. Men with long rackets thrashing Kafir corn (sorghum). 6. Woman in the field cutting "sorghum" with a knife, and depositing it in a basket. 7. Women separating the corn from the chaff by means of a wooden pestle and mortar. 8. Woman grinding corn upon a single slab of stone.", Fels Afro-Americana Image Project, Work Scenes.
Date
[1864]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1864 Speke 15863.O p 129, https://digital.librarycompany.org/islandora/object/Islandora%3A2810
Exterior view looking northwest at the Protestant Episcopal church built 1727-1744, including the steeple completed 1754 after the designs of John Harrison and Robert Smith, at 22-34 North 2nd Street. Scene includes pedestrian traffic walking along both Second and Church Streets, a flock of birds near the weathervane and steeple, and trolley tracks running the length of Second Street in the foreground., Frontispiece to Edward W. Clark's A Record of the Inscriptions of the Tablets and Grave-Stones in the Burial-Grounds of Christ Church, Philadelphia (Philadelphia: Collins, printer, 705 Jayne Street, 1864)., Philadelphia on Stone, POS 117, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: in Uy8 96795.D., Historical Society of Pennsylvania:
Creator
Tholey, Charles P., d. 1898, artist
Date
[1864]
Location
Library Company of Philadelphia | Print Department W61 [Uy8 96795.D.frontispiece]
Exterior view of front facade of hospital building constructed 1856-1861 after designs by John M. Gries at 2100 North Forty-ninth Street. Building adorned with Gothic details, including narrow pointed arched windows, gable roofs, pinnacles and spires. A carriage drives away from the front entrance of the home along the same path where pedestrians stroll the grounds. Founded in 1772 by Dr. John Kearsley to support poor and widowed women of the Church of England., Published in Edward W. Clark's A Record of the Inscriptions of the Tablets and Grave-Stones in the Burial-Grounds of Christ Church, Philadelphia (Philadelphia: Collins, printer, 705 Jayne Street, 1864), opposite page 85., Philadelphia on Stone, POS 119, Wainwright retrospective conversion project, edited., Library Company of Philadelphia: in Uy8 96795.D., Historical Society of Pennsylvania:
Creator
Tholey, Charles P., d. 1898, artist
Date
[1864]
Location
Library Company of Philadelphia | Print Department W63 [Uy8 96795.D.85a]
From 1855-59, Paul B. Du Chaillu (Paul Belloni), a French-American explorer, led an expedition through Gabon, which was supported by the Philadelphia Academy of Natural Scienes. Du Chaillu's observations were published in Explorations & Adventures in Equatorial Africa (1861). This engraving is set in a village inhabited by the Fan peoples, who settled in the area around the Gabon River. It shows two Fan blacksmith working over a small fire. "As blacksmiths," Du Chaillu wrote, "they very far surpass all the tribes of this region who have not come in contact with whites. Their war-like habits have made iron a most necessary article to them; and though their tools are very simple, their patience is great, and, as the reader will perceive from the pictures of their arms, they produce some very neat workmanship." (p. 91) Describing the scene shown in the engraving, Du Chaillu continued, "The forge is set up anywhere where a fire can be built. They have invented a singular bellows, composed of two short, hollowed cylinders of wood, surmounted by skins accurately fitted on, and having an appropriate valve and a wooden handle. The bellows-man sits down, and moves these coverings up and down with great rapidity, and the air is led through small wooden pipes into an iron joint which emerges in the fire. The anvil is a solid piece of iron of the shape seen in the illustration. The sharp end is stuck into the ground, and the blacksmith sits alongside of his anvil and beats iron with a singular hammer, which is simply a piece of iron weighing three to six pounds, and in shape of a truncated cone. It has no handle, but is held by the smaller end, and, of course, the blows require much more strength." (p. 91-92), Illustration in Paul B. Du Chaillu's Explorations & adventures in equatorial Africa: With accounts of the manners and customs of the people, and the chace of the gorilla, crocodile, leopard, elephant, hippopotamus, and other animals (London: John Murray, Albemarle Street, 1861), p. 91., Fels Afro-Americana Image Project, Africa: Images, Maps, and Geography.
Date
[1861]
Location
Library Company of Philadelphia | Books & Other Texts | Rare U Afri Du Chail 15232.O p 91, https://digital.librarycompany.org/islandora/object/Islandora%3A2901
Illustration depicts an episode that Du Chaillu witnessed during his stay in Cape Lopez (in the modern country of Gabon). As he wrote, "During my stay in the village, as I was one day out shooting birds in a grove not far from my house, I saw a procession of slaves coming from one of the barracoons toward the farther end of my grove. As the came nearer, I saw that two gangs of six slaves each, all chained about the neck, were carrying a burden between them, which I knew presently to be the corpse of another slave. They bore it to the edge of the grove, about three hundred yards from my house, and, throwing it down there on the bare ground, they returned to their prison, accompanied by the overseer, who, with his whip, had marched behind them." (p. 115), Plate in Paul Du Chaillu's Stories of the Gorilla Country: Narrated for Young People (New York: Harper & Brothers, publishers, Franklin Square, 1868), p. 108., Fels Afro-Americana Image Project, Scenes from Slave Life.
Date
[1868]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1868 Du Chail 17468.D p 108, https://digital.librarycompany.org/islandora/object/Islandora%3A2819
Sample image scanned from: 2# Am 1861 Uni Sta (2)5777.F.35b, Recruiting poster illustration depicting "a Union soldier in Zouave uniform, saber drawn, attacking a Confederate soldier."
Sample image scanned from: # Am 1861 Southwark (1)5777.F.24c, Recruiting poster illustration depicting "an officer standing, left arm raised, telescope in right hand."
Sample image scanned from: Sm# Am 1862 Uni Sta (2)5777.F.59d, Recruiting poster illustration depicting "Liberty, left arm raised, holding the flag in her right hand."
Sample image scanned from: 2# Am 1863 Uni Sta (2)5777.F.45c, Recruiting poster illustration depicting "an encampment, a cannon, and the digging of trenches."
Sample image scanned from: # Am 1861 Uni Sta (2)5777.F.24g, Recruiting poster illustration depicting an "eagle holding a small shield upright in his talons."
Sample image scanned from: 3# Am 1862 Uni Sta (4)5777.F.7, Recruiting poster illustration depicting "a regimental parade, with Sargeant major leading, left arm raised, four drummer boys, and one mounted officer."
Sample image scanned from: 2# Am 1862 Uni Sta (1)5777.F.24a, Recruiting poster illustration depicting "the U.S. flag, surmounting the globe, with the legend: Our country."
Sample image scanned from: 2# Am 1864 Uni Sta (3)5777.F.24, Recruiting poster illustration depicting "a mounted, Union cavalry soldier, saber drawn, attacking a mounted confederate cavalry soldier."
Sample image scanned from: 2# Am 1861 Uni Sta (1)5777.F.36d, Recruiting poster illustration depicting "a Union soldier with rifle in hand, bayonet fixed, charging past a fallen Confederate soldier in battle."
Creator
Bonfield, George Robert, 1805-1898, engineer., creator
Sample image scanned from: # Am 1861 Uni Sta (1)5777.F.62b, Recruiting poster illustration depicting "[x] soldiers, in groups of three, standing at attention (left or right facing)."
Sample image scanned from: # Am 1861 Southwark (1)5777.F.24c, Recruiting poster illustration depicting "three people, one holding a U.S. flag, with the banner: mottos vary." In this poster the banner reads: "the Union and the Constitution!" Banner text varies. Other examples include, "Attention!" and "Hurra for Houtton & Brother."
Sample image scanned from: 2# Am 1862 Uni Sta (2)5777.F.32, Recruiting poster illustration depicting "four horses, two with riders, pulling a cannon with three soldiers seated."
Creator
Rogers, E. (Edward), b. 1831 or 2, engraver., creator
Sample image scanned from: 2# Am 1861 Uni Sta (4)5777.F.57c, Recruiting poster illustration depicting "George Washington holding the U.S. flag, beneath the legend: My country." Various date ranges included in some posters.
Creator
Hinckley, Cornelius T., b. ca. 1820, engraver., creator
Sample image scanned from: 2# Am 1862 Uni Sta (2)5777.F.30b, Recruiting poster illustration depicting "an eagle with a blank banner, perched on a horn."
Sample image scanned from: Sm# Am 1861 Uni Sta (2)5777.F.6b, Recruiting poster illustration depicting "an eagle on a flag-draped drum, with eight flags behind."
Sample image scanned from: # Am 1861 German (2)5777.F.7a, Recruiting poster illustration depicting "an eagle on a shield, with the banner: mottos vary." The motto on this poster reads: "When duty calls, 'tis ours to obey." Other examples include, "No compromise with traitors, and no argument but the cannon's mouth"; "The Union now and forever"; "Not for ourselves, but for our country." See woodcut15 for a similar image.
Sample image scanned from: # Am 1861 Uni Sta (2)5777.F.6e, Recruiting poster illustration depicting "an eagle on a shield with the banner: mottos vary." The motto in this poster is: "The Union, it shall be preserved!" Other examples include, "No compromise with traitors, and no argument but the cannon's mouth."; "Obey the call of your country!"; "Fall in and keep step to the music of the Union."
