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One could also
find everyday products that caricatured African Americans in the same
ways – cans of oysters, towel racks, dinnerware, jars, and Halloween
masks. A number of these items can be viewed at Ferris State's online
Jim Crow Museum. |
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Hopefully from a review of the images and
references below, one can come to understand the historical context in
which the stereotyping, hate, and fear of other races arose during the nineteenth century, in order to prevent those same discriminations from creeping into
the present or overtaking the future.
Inventory
& Description
Please note that this page is for research purposes
only, any duplication of images must be permitted in writing by Albion
College Special Collections. Italicized text indicates the name of the
lithograph series. Bold text indicates the identification number for the
print, its title, and/or
companion pieces. They are listed, for the most part, in alphabetical
order, by series or single title. Click on the thumbnails for larger
images. Click here for
additional
resources
on Currier and Ives and the historical context of these racist
images.
Box 1
An Affair of Honor
001
A Stray Shot – “What Yer Gwine Nigga? Yer
Done Shot Old Sawbones!”
Artist King & Murphy, 1884
Physical Description 13.75" x 10.5" (plate and text).
20” x 16" (matted). Crease, lower right.
Insect damage. Bottom left corner missing. Hand-colored. Vignette.
Scene The duel is over, and the two contestants have
fallen over one another. The elderly black man with the surgeon’s tool
box is the only one who gets shot, in his thigh. *
Notes Companion and conclusion to The Critical
Moment: Now Den Brace Em Up, —One!—Two!! —. Black & white
prints owned by Library of Congress and Metropolitan Museum of Art (NY).
Hand-colored print owned by Museum of the City of New York.
002 Asking a Hand – “Leff Me be de Possessah ob dat Lubly Number Seben!”
Artist Unsigned, 1887
Physical Description 12" x 10.75" (image and text).
19" x 16”
(matted). Hand-colored. Vignette.
Scene A black man in tails, his top hat on the floor
in front of him, shouts his desire at a black woman standing across from
him. A small dog flies through the air on the far left.
Notes Black & white prints owned by Chicago Historical
Society, Library of Congress, and Museum of the City of New York.
003 A Base Hit
Artist Thomas
Worth, 1882
Physical
Description 13.75" x 10.25" (image and text). 20" x 16” (matted).
Tear, bottom right corner. Hand-colored. Vignette.
Scene Three
black baseball players tumble to catch a baseball that has just hit a
portly passerby in the stomach.
Notes Black &
white prints owned by Library of Congress, Chicago Historical Society,
Peters Collection and Heritage Plantation of Sandwich (Sandwich, MA).
004 The Boss of the
Road
Artist Thomas
Worth, 1877
Physical
Description 12.5" x 9" (image and text). 20" x 16” (matted).
Water damage. Discoloration.
Brittle. Hand-colored.
Scene A black
man carries his jug at left, and a horse-drawn carriage has been forced
to either side of the road.
Notes Closer
view point of larger image with same title, printed in 1884. Same
character as in
Bulldozed! (009). This was reprinted in 1883 in
this smaller size. It was also published without a date and as a trade
card (1880). Black & white print owned by Library of Congress.
Hand-colored print owned by Museum of the City of New York.
005 De Boss Rooster
Artist Thomas
Worth, 1882
Physical
Description 13.75" x 10.5" (image and text). 20" x 16” (matted). Hand-colored. Vignette.
Scene In the
foreground, black men observe the results of a cockfight, while others
peer over a board fence. One of the roosters lies dead, its feather
scattered on the ground. The winning group of bettors cheer joyfully on
the right.
Notes Black &
white print owned by Library of Congress.
006
Bound to Smash!!
Or Caught by the Wool.
Artist Thomas Worth, 1877
Physical Description 13.5" x 10" (image and text).
20" x 16”
(matted). Insect and
water damage. Discoloration. Brittle. Hand-colored.
Scene A black couple racing against a white rival
loses control as the wheels of their wagon slide into a ditch. The wife
grabs her husband by the hair.
Notes Companion to
Bound to Shine!! Black &
white prints owned by Library of Congress and Museum of the City of New
York.
007
“Breaking In.” A
Black Im-position
Image
coming soon
Artist Thomas
Worth, 1881
Physical
Description 14.25" x 10.25" (image and text). 20" x 16” (matted). Large tear, middle top. Hand-colored. Vignette.
Scene A
horse is tethered to a wooden fence as young black boys, grinning
fiendishly, climbs onto the rails. Another boy whittles a branch with a
knife while he runs toward the fence.
Notes
Companion to
Breaking Out (008). Black & white print owned by
Library of Congress.
008
Breaking Out. A
Lively Scrimmage
Image
coming soon
Artist Thomas
Worth, 1881
Physical
Description 14.25" x 10.5" (image and text). 20" x 16" (matted).
Tear, left side. Brittle. Hand-colored. Vignette.
Scene A
rearing horse crashes through a fence and send young black boys flying
through the air, some of them holding pieces of the fence. A smaller boy
races away to the right.
Notes
Companion to Breaking
In (007). Black & white prints owned by the
Museum of the City of New York and Library of Congress.
009 Bulldozed!
Artist Thomas Worth, 1877
Physical Description 12.5" x 8.75" (image and text).
20" x 16”
(matted). Hand-colored.
Scene On the left, a large bull watches a donkey and
its black rider take a tumble in front of a haystack as a result of his
charge. The man’s open umbrella files toward the upper right.
Notes This is the same character as in
The
Boss of the Road (004). This was also printed as a comic trade card in 1877.
1875 print entitled Bull-dozed – connection? Black & white prints
owned by Library of Congress and Metropolitan Museum of Art (NY).
010
The Champion in Danger. Golly! He’s Got dis Nigga Suah Less Sumfin Happens
Image
coming soon
Artist Thomas Worth, 1882
Physical Description 14.25" x 9.5” (image and text). 20" x
16” (matted).
Foxing. Printed in color. Vignette.
Scene Two black men race each other in rowing sculls.
The champion, in the foreground, has a worried expression because he
lags behind the challenger. The champion wears a polka-dot shirt; the
challenger’s pants are striped.
Notes Companion to
The Champion in Luck (011).
Other prints owned by Chicago Historical Society, Library of Congress,
Museum for the City of New York, Peters Collection and Heritage Plantation of Sandwich
(Sandwich, MA).
011
The Champion in Luck. Dar – I Know’d Sumfin ‘ud Happen!
Image
coming soon
Artist Thomas Worth, 1882
Physical Description 14.25" x 10.25” (image and text). 20" x
16” (matted).
Foxing. Printed in color. Vignette.
Scene The champion black rower, his left arm raised,
looks overjoyed at having eliminated his opponent, whose head is
underwater, by crashing into his scull and capsizing it.
Notes Companion to
The Champion in Danger
(010).
Also printed in 1882 without Thomas Worth’s signature on the image.
Other prints owned by Library of Congress and Museum of the City of New
York.
012 “A Clean Sweep”
Artist Thomas Worth, 1889
Physical Description 13.75" x 9.75" (image and text).
20" x 16” (matted).
Water damage, right side. Discoloration
and foxing.
Brittle. Hand-colored. Vignette.
Scene A group of black people are caricatured in disarray in a
poolroom.
Notes Companion to
“Bustin the Pool”. Other prints owned by Chicago
Historical Society and Museum of the City of New York.
013 Got ‘Em Both!
Artist Thomas Worth, 1882
Physical Description 13.5" x 9" (image and text).
20" x 16” (matted).
Water damage. Discoloration.
Foxing. Warped. Brittle. Hand-colored.
Vignette.
Scene Seven black men surround a billiards table. One
burst into laughter after hitting the cue ball so hard that two balls
fly off the table, striking two other men in the face; the errant cue
punctures the belly of another man.
Notes Companion to
Two to Go! Black & white
prints owned by Library of Congress, Museum of the City of New York,
Metropolitan Museum of Art (NY). Hand-colored print owned by the New
York Public Library.
013 Got ‘Em Both!
Artist Thomas Worth, 1882
Physical Description 13.5" x 9" (image and text).
20" x 16” (matted).
Water damage. Discoloration.
Foxing. Warped. Brittle. Hand-colored.
Vignette.
Scene Seven black men surround a billiards table. One
burst into laughter after hitting the cue ball so hard that two balls
fly off the table, striking two other men in the face; the errant cue
punctures the belly of another man.
Notes Companion to
Two to Go! Black & white
prints owned by Library of Congress, Museum of the City of New York,
Metropolitan Museum of Art (NY). Hand-colored print owned by the New
York Public Library.
The Coon Club Hunt
014 “Hot on
the Scent”
Artist Not signed, 1885
Physical Description 13" x 9.75" (image and text).
20" x 16”
(matted). Tear, top edge. Discoloration. Hand-colored. Vignette.
Scene Hunt scene, where a caricatured black man and
woman on horseback, with three dogs in foreground, presumably chase an
elusive fox. Two children ride together on a donkey in the left
background.
Notes Companion to
“Taking a Header”. Black &
white prints owned by Library of Congress and Museum of the City of New
York.
015
Copped at a Cock Fight, “Parson, - Leff Me Go Boss, I Only Jis Done Go Dar to
Reckinsile dem Roosters.”
Artist Thomas Worth, 1884
Physical Description 13.75" x 10.75" (image and text).
20" x 16”
(matted). Right edge folded and torn. Hand-colored. Vignette.
Scene A caricature of two stereotyped black policemen
arresting a black man in a dark suit.
Notes Black & white prints owned by Library of
Congress and Peters Collection.
A Corinthian
Race
016 A High Toned Start
Artist Thomas Worth, 1883
Physical Description 13.5" x 9.5" (image and text).
20" x 16” (matted).
Water damage. Discoloration. Foxing. Brittle. Hand-colored.
Vignette.
Scene Caricatured black men, riding donkeys and
horses, begin a race in great disarray. One donkey bucks its ride into
the air; another, at center, rears almost straight up on its hind legs.
Notes Companion to A Low Toned Finish.
Black & white print owned by Library of Congress. Hand-colored print
owned by the Museum of the City of New York.
Darktown Banjo
Class
017 All in Tune – “Thumb It Darkies, Thumb It – O How Loose
I Feel!”
Artist
Not signed, 1886
Physical
Description 13.5" x 9.25"
(image and text). 20" x 16" (matted). Water damage, bottom edge. Discoloration. Hand-colored.
Vignette
Scene
Five black people, three men and two women, are playing the banjo with
great enthusiasm.
Notes
Companion to
Off the Key (018). Black & white print owned
by Library of Congress.
018 Off the Key
– “If Yous Can’t Play de Music, Jes Leff de Banjo Go!”
Artist
Not signed, 1886
Physical
Description 13.5" x 9.5"
(image and text). 20" x 16" (matted). Water damage, bottom edge. Discoloration. Hand-colored. Vignette.
Scene
Same five banjo players look at each other in dismay.
Notes
Companion to
All in Tune (017). Black & white prints owned by
Library of Congress and Museum of the City of New York.
Darktown Bicycle
Club
019 Knocked Out – “Dar! I Knowed dem Odd Fellers Was a
Breedin Mischief.”
Artist
John Cameron, 1892
Physical Description
13.25" x 10.75" (image and text). 20" x 16" (matted). Foxing. Warped. Water and
insect damage. Hand-colored. Vignette.
Scene
A black man wearing a striped outfit takes the worst of it in a bicycle
crash. A goat butts the backside of a woman who tries to help him.
Notes Companion to
On Parade – “Hooray for de
Rumatic! Don’t She Glide Lubly". Hand-colored prints owned by the
Library of Congress and Chicago Historical Society. Black & white print
owned by the Museum of the City of New York.
Box 2
Darktown Fire Brigade
In the more than two
hundred Darktown Comics, which sold in huge numbers during the firm’s
declining years, the black-skinned residents of this fictitious segregated
community are consistently characterized as lacking the intelligence,
beauty, and morality of whites. Although the Comics were not without
precedents, they demonstrate the pervasive racism of the Reconstruction
years. The chasm between today’s culture and that of the 1880s is
suggested in the firm’s description of these comics as “pleasant and
humorous designs, free from coarseness or vulgarity, being good-natured
hits at the popular amusements and excitements of the times.” Like many
of the Comics, the illustrations recall well-known Currier &
Ives series devoted to mainstream American subjects, in this case
The Life of a Fireman prints.
020 Saved!
Artist
Thomas Worth, 1884
Physical Description
13.5" x 16.5" (image and text). 20" x 16" (matted). Hand-colored. Vignette.
Scene
The fire brigade is in the process of rescuing three black people from a
burning building. A black woman, coyly carrying a fan, jumps into a
tattered blanket; a fireman carries another woman out the front door
over his shoulder; the third victim, a man, is being hosed down as he
attempts to crawl up through a hole in the roof.
Notes
This print was issued in 1891 in a larger format and cruder rendering,
with the stream of water hitting the man more squarely in the face.
Hand-colored print owned by Chicago Historical Society. Black & white
print owned by Library of Congress.
021 Investigating a Smoke – “Parson- No Sah De Meetin House
Aint Afire, but de Congregation Am Takin a Smoke of de World’s Best Terbakker.”
Artist
Not signed, 1894
Physical Description 14.25" x
10.5" (image and text). 20" x 16" (matted). Discoloration at top.
Creases, tear, and unknown marks on right edge. Hand-colored. Vignette.
Scene
A fire chief arrives at a smoking building only to find that the smoke
is actually issuing from a group of twelve black men vigorously smoking
pipes just outside the building.
Notes
Companion to Taking a Rest. Library of Congress owns a
hand-colored version of this print.
022 All on Their Mettle – “Git Dere Fust If You’s Bust
Your
Trousers!”
Artist
Not signed, 1889
Physical Description 13.25" x
10.5" (image and text). 20" x 16" (matted). Printed in color. Fire damage upper left
corner. Hand-colored. Vignette. Two copies: 022-A in good
condition; 022-B water damage, brittle, tears at top center, bottom
corners missing.
Scene
Three units of the fire brigade--hose, pump, and ladder--converge at
top speed from three separate roads at a one-lane bridge in the
foreground. Disaster appears imminent.
Notes
Companion to
Slightly Demoralized (023).
This print was also published by Joseph Koehler, with the note "Curries
& Ives Series No. 11" and the Currier & Ives copyright line. Black & white prints owned by
Library of Congress, Peters Collection and Museum of the City of New York.
023 Slightly Demoralized – “I Knowed We’d Make Em Take
Water!”
Artist
Not signed, 1889
Physical Description 13.25" x
10.75" (image and text). 20" x 16" (matted). Hand-colored. Vignette.
Scene
Three units of the fire brigade have collided after converging near a
narrow bridge. They fight one another on the shore and in the water amid
the wreckage of their equipment.
Notes
Companion to
All on Their Mettle (022). This print was also
published by Joseph Koehler, with the note "Currier & Ives Series No.
12" and the Currier & Ives copyright line. Black & white prints owned by
Library of Congress and Heritage Plantation of Sandwich (Sandwich, MA).
024 A Prize Squirt – “Now Den! Shake Her Up Once Moah Fur
De Mug.”
Artist
Not signed, 1885
Physical Description 6.06" x
8.14" (image and text).
20" x 16" (matted). Foxing. Right corner missing. Hand-colored. Vignette.
Scene
The fire brigade demonstrates its prowess with the hose pumper wagon,
labeled "Niagara." The wagon squirt feebly, despite the vigorous pumping
efforts of four black men. The fire chief stand atop the carriage waving
his hat and voice trumpet. Standing in front of the spectators at left
rear, a man holds a loving cup inscribed "Prize Mug."
Notes
Companion to
The Last Shake (025). This print was also
published by Joseph Koehler, with the note "Currier & Ives Series No.3"
and the Currier & Ives copyright line. The Heritage Plantation of
Sandwich (Sandwich, MA), Library of Congress, Metropolitan Museum of Art
(NY), and New York Historical Society own black & white prints of this
print.
025 The Last Shake – “We’s Won De Mug But We’s Smashed
De Ole Machine.”
Artist Not signed, 1885
Physical Description 13.26" x
10.25" (image and text).20" x 16" (matted). Stains, bottom edge. Discoloration. Hand-colored. Vignette.
Scene
The pump has collapsed into the reservoir of the pumper wagon Niagara,
and the firemen have been flung about. The audience flees in the left
background.
Notes Companion to
A Prize
Squirt (024). This print was also published by Joseph Koehler, with
the note "Currier & Ives Series No. 4" and the Currier & Ives copyright
line. Black & white prints of this are owned by the Heritage Plantation
of Sandwich (Sandwich, MA) and Library of Congress.
026 To the Rescue
Artist
Thomas Worth, 1884
Physical Description 13.25" x
9.5" (image and text).
20" x 16" (matted). Foxing. Tear, left edge. Water damage. Hand-colored. Vignette.
Scene
Group of black firemen struggle to get its mule-drawn pumper wagon up a
steep incline as a house burns on the horizon.
Notes
This print was also published by Joseph Koehler, with the note "Currier
& Ives Series No.1" and the Currier & Ives copyright line. Chicago
Historical Society owns a hand-colored copy of this; whereas Heritage
Plantation of Sandwich (Sandwich, MA), Library of Congress, Peters
Collection, Museum of
the City of New York and the New York Historical Society own black &
white prints.
027 The Chief, on Duty – “Lite Up Dem Hose Dar- Yous Heah
Me!”
Artist
Not signed, 1885
Physical Description 10.25" x
13.75" (image and text). 16" x 20" (matted). Foxing. Discoloration
at edges. Insect damage. Hand-colored. Vignette.
Scene
A barrel-chested black fire chief shouts orders without using the voice
trumpet he carries. The rest of the brigade battles the fire in the
background.
Notes
Companion to
The Foreman on Parade (028).
Black & white prints of this are owned by Library of Congress, Museum of
the City of New York, and the New York Historical Society.
028 The Foreman on Parade – “De Gals All Mire Me So Much Dey Makes Me Blush.”
Artist
Not signed, 1885
Physical Description 9.5" x
14" (image and text). 16" x 20" (matted). Water damage. Discoloration. Warped. Hand-colored. Vignette.
Scene
The uniformed brigade foreman, a voice trumpet tucked under his left
arm, marches at the head of the parade, wearing a corsage of roses. A
largely female black audience looks on admiringly from the background.
Notes
Companion to
The Chief, on Duty (027). Black & white prints owned
by Heritage Plantation of Sandwich (Sandwich, MA), Library of Congress,
and New York Historical Society.
029 Under Full Steam – “Now Den Squirt, for All Shes Wuff.”
(1887)
Artist
Not signed, 1887
Physical Description 12.75" x
9.5" (image and text).
20" x 16" (matted). Discoloration. Water damage, edges. Printed in color. Vignette.
Scene
At the scene of a blaze, a fireman sits atop the pump carriage, and
squirts a black woman wearing a nightgown on the backside as she
descends a ladder to escape the fire. Another fireman helps two little
boys out the front door.
Notes Other copy owned by the
Library of Congress.
The Darktown
Hook and Ladder Corps
030 Going to the Front
Artist King & Murphy, 1884
Physical Description 13.75" x
10.5"
(image and text). 20" x 16"
(matted). Slight discoloration. Hand-colored. Vignette.
Scene The black crew of a horse-drawn
hook-and-ladder team careers tumultuously along a road, shouting and
wildly waving fire equipment. Two young children wave in the lower left
corner.
Notes Companion to
In Action
(031).
This print was also published by Joseph Koehler, with the note "Currier
& Ives No.7" and the Currier & Ives copyright line. Also
printed in a large format in 1891. Black & white prints
owned by Library of Congress, Museum of the City of New York,
Metropolitan Museum of Art (NY), and New York Historical Society.
031 In Action
Artist King & Murphy, 1884
Physical Description 14" x
11.25"
(image and text). 20" x 16"
(matted). Slight foxing. Discoloration, right edge. Hand-colored. Vignette.
Scene At the scene of a blaze,
caricatured black firemen do a variety of absurd things such as holding
a net while a man lowers a hot stove into it from a window, dousing a
man with water as his head pops out of the chimney, and lifting a child
out of the window with the hook on a pike.
Notes Companion to
Going to the
Front (031). This print was also published by Joseph Koehler with an
acknowledgement to Currier & Ives and with their copyright line.
Hand-colored print owned by Library of Congress. Black & white copy
owned by the Museum of the City of New York.
The Darktown
Hunt
032 The Meet – “Keep You
Tempers Ladies de One Dat Gits Tother End Fust Gits de Brush.”
Artist Not signed, 1892
Physical Description 12.75" x 10.25" (image and text).
20" x 16"
(matted). Tears, outer edge. Hand-colored. Vignette.
Scene Five black people gather in
hunting attire before the hunt. Four of them, two women and two men, are
mounted, and fifth, a man, leans against his horse. Whoever reaches the
end of the course first will get a brush for a prize. Seven dogs relax
on the ground around the horses' hooves, and a fox can be seen on the
extreme right.
Notes Companion to Presenting the
Brush: "You Done Better Keep It Kurnel to Polish You Cheek."
Hand-colored print owned by Library of Congress. Black & white print
owned by Museum of the City of New York.
A Darktown Race
033 Facing the Flag – “Match
Between ‘His Lowness’ and ‘The
Stretcher’ for de Gate Money”
Artist Not signed, 1892
Physical Description 13.25" x
10.5"
(image and text). 20" x 16"
(matted). Water damage. Bad Foxing. Discoloration. Brittle. Tears, top
edge. Hand-colored. Vignette.
Scene Two mounted back jockeys, one
short and fat and the other tall and thin, await the flag signal from
the judge. Two judges appear behind a makeshift facade while a third
judge, holding up a flag, stands on an upside-down wooden tub.
Notes Companion to
Won by a Neck
(034). Hand-colored prints owned by
Library of Congress, Peters Collection and the Museum of the City of New York. The
Metropolitan Museum of Art (NY) and New York Public Library own black &
white prints.
034 Won by a Neck – “Golly Dat Gyraffy Neck Does de Bizness!”
Artist Not signed, 1892
Physical Description 13.5" x
10.5"
(image and text). 20" x 16"
(matted). Badly foxed. Discoloration. Brittle. Tears, all edges. Hand-colored. Vignette.
Scene Two black jockeys race their
mounts past the finish line. The horses are in a dead heat, but the
house on the inside wins the race because its jockey extends his own
nose across the line first. The judges register astonishment.
Notes Companion and sequel to
Facing the Flag (033). Hand-colored prints owned by Library of
Congress and Museum of the City of New York. Black & white print owned
by Metropolitan Museum of Art (NY).
A Darktown Sociable
035
A “Fancy Dress” Surprise
Artist Not signed, 1890
Physical Description
13.5" x 10" (image and text). 20" x 16" (matted). Printed in color.
Vignette
Scene Five black
men and two women in elaborate costumes play musical instruments, dance,
and sing. At left, two malevolent-looking men peer into the room through
a slightly open door.
Notes Companion to
A "Fancy Dress" Hoodoo. Black & white prints owned by Heritage
Plantation of Sandwich (Sandwich, MA), Museum of the City of New York,
and Metropolitan Museum of Art (NY). Hand-colored print own by Library
of Congress.
The Darktown Tally Ho
036 Tangled Up
Artist Thomas
Worth, 1889
Physical Description
14.25" x 9.75"
(image and text). 20" x 16" (matted). Hand-colored. Vignette.
Scene A stagecoach
labeled "Taly Hoe," carrying nine motley-looking black people is delayed
while its team of four donkeys rear in confusion.
Notes Companion to
Straightened Out (037). Hand-colored print owned by Library of
Congress. Black & white prints owned by Museum of the City of New York,
Peters Collection
and Metropolitan Museum of Art (NY).
037 Straightened Out
Artist Thomas
Worth, 1889
Physical Description
14.5" x 9.5" (image and text). 20" x 16" (matted).
Foxing. Hand-colored. Vignette.
Scene A team of
four donkeys pulling a stagecoach takes off at a wild pace, throwing a
black man off the rear of the coach. The black driver and seven
passengers look terrified.
Notes Companion and
sequel to
Tangled Up (036). Hand-colored print owned by Library
of Congress. Black & white prints owned by Museum of the City of New
York, Peters Collection, and Metropolitan Museum of Art (NY).
A Darktown Tournament
038 The First Tilt
Artist John
Cameron, 1890
Physical Description
13.75" x 9.75" (image and text). 20" x 16" (matted). Water
damage, bottom edge. Printed in color.
Vignette.
Scene In the
foreground, two black men, each carrying a bucket of white-wash, attack
each other, using long poles as lances. A woman watches from the window
of a small house. A sign hanging from the windowsill reads, "Wite
Wassher Wanted," with all the E's reversed.
Notes Companion to
Close Quarters (039). Additional prints owned by Library of Congress,
Museum of the City of New York, Peters Collection and Metropolitan Museum of Art (NY).
039 Close Quarters
Artist John
Cameron, 1890
Physical Description
13.5" x 9.5" (image and text). 20" x 16" (matted). Water
damage on bottom edge. Tears, left edge. Printed in color. Vignette.
Scene Two
whitewashers fight each other with their paintbrushes, grappling and
splashing each other with whitewash, while a woman watching from the
window of a home guffaws. A black policeman approaches at a run from the
right.
Notes Companion and
sequel to
The First Tilt (038). Additional prints owned by Library of Congress,
Museum of the City of New York, Peters Collection and Metropolitan Museum of Art (NY).
A Darktown Wedding
040 The Send
Off
Artist Not signed,
1892
Physical Description
14.5" x 10" (image and text). 20" x 16" (matted). Water
damage on bottom edge. Printed in color.
Vignette.
Scene As a
departing black bride and groom near the bottom of a porch, a young boy
prepares to throw a boot.
Notes Companion to
The Parting Salute (041). Additional prints owned by Library of
Congress and Museum of the City of New York.
041 The Parting Salute
Artist Not signed,
1892
Physical Description
14" x 9.75" (image and text). 20" x 16" (matted). Water
damage. Discoloration at edges. Printed in color. Vignette.
Scene As a black
bride and groom reach the bottom of the porch steps, a flying boot
strikes the groom on the head. A young boy flees beneath the porch.
Notes Companion and
sequel to
The Send Off (040). Additional prints owned by Library of
Congress and Museum of the City of New York.
Eating Crow on a
Wager
042 De Fust Brace
Artist Thomas Worth, 1883
Physical Description 13.25" x 10"
(image and text). 20" x 16" (matted). Tears, bottom left corner. Hand-colored. Vignette.
Scene A portly black man sits at a
table and eats the second of two crows. The bones of the first are on a
plate on the floor. The chef holds a watch, timing the event, on the
left. Four others look on. The wager is posted on the wall: "Gorilla
Sam, Backed to Eat a Brace of Crows Daily for 30 Days."
Notes Companion to
De Last Lap
(043). Library of Congress owns a black & white print of this.
043 De Last Lap
Artist Thomas Worth, 1883
Physical Description 13" x 9.75"
(image and text). 20" x 16" (matted). Tears, bottom left corner. Hand-colored. Vignette.
Scene Two black men hold a horrified
Gorilla Sam, now skinny, by his hair and urge him on to a dinner of two
crows set out on a table, as n exuberant chef looks on. A tall bottle
with a banner marked "Gasoline" stands on the table behind the crows.
Notes Companion to
De Fust Brace
(042). Library of Congress owns a black & white print of this.
044 De Fust Knock-Down
Artist Thomas Worth, 1882
Physical Description 13" x 9.75"
(image and text). 20" x 16" (matted). Hand-colored. Vignette.
Scene A brawny bare-chested black
boxer steps away to the left after having belted his opponent, who is
still spinning in the air on the right. A man on the right thumbs his
nose. The spectators in the background are in an uproar.
Notes Companion to
De Fust Blood!
Library of Congress and the Museum of the City of New York own
black & white prints of this.
045 The Horse Sheds
Stakes, Free for All
Artist Thomas Worth, 1877
Physical Description 13" x 9.25" (image and text).
18.75" x 16" (matted). Large tear, lower right corner.
Foxing. Hand-colored.
Scene At a racetrack, a horse and
wagon driven by a white man is inundated by eleven caricatured blacks
competing to provide him with their services.
Notes Not listed as a Darktown Comic
in the Catalogue Raisonné.
The same image appears under
the title Hold Your Horse Bossy? Another print, entitled just The Horse
Shed Stakes is completely different from this one. Library of
Congress owns a black & white print of this.
Initiation Ceremonies
of the Darktown Lodge
046
Part Second, The Candidate
Charging the Grand Boss
Artist Not
signed, 1887
Physical Description
13.5" x 10" (image and text). 20" x 16" (matted).
Vertical crease through image. Water damage. Discoloration. Printed in color. Vignette.
Scene A goat,
tired of being abused, charges, sending several black men flying, and
applies its horns to the lodge master's backside.
Notes Companion
and sequel to Part First, The Grand Boss Charging the Candidate.
Library of Congress owns a hand-colored print. Museum of the City of New
York owns a black & white.
Box 3
047 De Lime Kiln Club, A Temperance Racket
Artist
Thomas Worth, 1889
Physical Description 13" x
10.25"
(image and text). 20" x 16"
(matted). Tear, bottom left corner. Hand-colored. Vignette.
Scene A pious-looking back man
stands on a stage preaching to a small audience, each of whom is hiding
a bottle from the lecturer. A sign on the wall reads "Brother Gardner's
Celebrated Lecture on Temperance."
Notes Black & white prints owned by
the Library of Congress and the Museum of the City of New York.
048 Jay Eye Sore – De Great World
Beater. “When Dat Colt Am Warmed He Kin Lay ‘Em All Out!”
Image coming soon
Artist
Not signed, 1885
Physical Description 13" x
10.25" (image and text). 20" x 16" (matted). Water damage,
lower half. Discoloration. Warped. Hand-colored. Vignette.
Scene A broken-down horse draws a
sulky and a black driver from right to left. The driver's cap is pulled
down over his eyes, and his feet rest on the horse's rump. The
judges' stand is in the left background, and spectators line the rail to
the right of the stand.
Notes The horse's name is a takeoff
on that of the famous trotter Jay Eye See. The imagery may be a takeoff
of John Cameron's small black & white print,
Jay Eye See from 1883. The
Library of Congress and Museum of the City of New York own black & white
prints.
A Line Shot
049 The Aim
Artist Thomas Worth, 1881
Physical Description 13.25" x 10.5" (image and text).
20" x 16" (matted). Hand-colored. Vignette.
Scene At left, a black hunter takes
aim with his gun at three small birds sitting on a clothesline on which
a black woman hangs clothes. A shanty stands in the background.
Notes
Companion to The Recoil (050). Library of Congress and Museum of
the City of New York own black & white prints.
050 The Recoil (1881, Thomas Worth)
[pair]
Artist Thomas Worth, 1881
Physical Description 13.5" x
10.25" (image and text).
20" x 16" (matted). Discoloration. Foxing.
Tears, top edge. Top left corner missing. Hand-colored. Vignette.
Scene A hunter, who has just fired
at birds perched on a clothesline, and his dog scramble to get away over
a fence, at left. The clothesline has snapped, sending a woman hanging
clothes into her clothes basket.
Notes Companion to The Aim (049).
Library of Congress and Museum of the City of New York own black & white
prints.
A Literary
Debate in the Darktown Club
051
Settling the Question
Artist Thomas Worth, 1884
Physical
Description 13" x 10.25" (image and text). 20" x 16" (matted).
Foxing. Creases throughout. Tears along all edges. Brittle. Discoloration.
Warping. Water damage. Printed
in color.
Scene Two
black men in motley attire on a stage square off in debate. Portraits of
Washington, "Linkum," and U.S. Grant hand on the wall behind them, as
does a poster that advertises "De Lions ob Debate," three black heads on
the bodies of lions. At bottom are the backs of heads of people in the
front row of the audience.
Notes
Companion to The Question Settled (052).
This print was also published with an 1885 date. Library of Congress,
Museum of the City of New York, and Metropolitan Museum of Art (NY) own
the same color print.
052
The Question Settled
Artist Thomas Worth, 1884
Physical
Description 13.5" x 10.25" (image and text). 20" x 16" (matted). Printed in
color.
Scene A debate has
ended in violence; two black debators have knocked each other down, and
the props on the stage are wrecked. A protrait of Washington is broken
over the head of one debator. A police constable enters the scene from a
door at the rear of the stage.
Notes Companion
and sequel to Settling the Question (051).
Library of Congress, Museum of the City of New York, and Metropolitan
Museum of Art (NY) own the same color print.
053 Mud S. – De Great Record Buster,
Dar!
She’s Done Gone Bust Dat Yer Reckud Agin!
Artist Not signed, 1885
Physical
Description 13.25" x 10.5" (image and text). 20" x
16" (matted).
Discoloration, all edges. Hand-colored. Vignette.
Scene A mule draws
a ramshackle sulky and disheveled black driver, who holds a whip in his
teeth, from left to right over the finish line. Spectators cheer wildly
in the background, and two men embrace in the judges' stand.
Notes The name Mud
S. is a takeoff on a famous racehorse, Maud S.
Library of Congress and Museum of the City of New York own the same print.
Also found in the Peters Collection, superimposed over Off His Nut
(055)--thought to be a Currier & Ives' employee's jest.
054 A Mule Train on a
Down Grade – “Clar de Track for We’s a Comin”
Artist Thomas Worth, 1881
Physical
Description 13" x 9.75" (image and text). 20" x 16" (matted).
Slight foxing. Discoloration, bottom edge. Hand-colored. Vignette.
Scene Three black
people race downhill on a mule. A woman sits on the mule's neck and
holds its ears. On her back, in a basket, is a boy holding a banjo. A
man swings from the mule's tail and smiles broadly. He has lost one boot
and his hat.
Notes Companion to
A Mule Train on an Up Grade: "Golly! Where Is Dis Yere Promis Land!"
This print is owned in black and white by Library of Congress and the
Museum of the City of New York. The Metropolitan Museum of Art (NY) owns
a hand-colored copy.
055 Off His Nut –
“Gracious Massy, I’se Struck de Comet!”
Artist Not signed, 1886
Physical
Description 9" x 14" (image and text). 15" x 20" (matted).
Vertical print.
Printed in
color. Vignette.
Scene A wide-eyed
black man, who appears to have been riding a high-wheeled bicycle, has
collided with a locomotive. His arms and legs are wrapped around the
smokestack, and a wheel from the bicycle is there with him, looped
around the stack.
Notes The image of the man and the bicycle wheel was superimposed on a
few other prints -- A Bad Break, Mud S.--de Great Record
Buster (053), and Thou Hast Learned to Love Another--thought to be
a Currier & Ives' employee's jest. This print is also owned by Library
of Congress and the Museum of the City of New York.
056 On the Home Stretch
Artist Thomas Worth, 1882
Physical
Description 13.5" x 10" (image and text). 20" x
16" (matted).
Creases throughout. Foxing. Discoloration at edges. Hand-colored. Vignette.
Scene Three
caricatured black men slap their knees and dance with laughter as a
horse draws a wagon past them. Its occupant, an inebriated white man
whose backside has broken partway through the folded convertible top at
the back of the wagon, sits with both legs sticking straight up.
Notes Companion
and sequel to Getting a Boost (057). Black & white print
owned by Library of Congress.
057 Getting a Boost
Artist Thomas Worth, 1882
Physical
Description 13.75" x 10" (image and text). 20" x 16" (matted).
Discoloration at edges. Water damage. Creases throughout. Hand-colored. Vignette.
Scene Two black
men at left boost an inebriated white man into a horse-drawn cart, using
a chair as a step. Another black man steadies the horse's head on the
right. Two men look on from the left background.
Notes Companion to
On the Homestretch (056). Black & white prints owned by Library
of Congress, Museum of the City of New York, and the Metropolitan Museum
of Art (NY).
058 Polished Off –
“Golly-He’s Licked!!”
Artist Not signed, 1888
Physical
Description 10" x 14.25" (image and text). 16" x 20" (matted).
Vertical print. Tears along top edge.
Hand-colored. Vignette.
Scene A group of
black men follow a huge and badly bruised black boxer who is carried on
a blanket. The parade moves toward the viewer.
Notes
Companion to Going for a Shine. Black & white prints owned
by Library of Congress and Museum of the City of New York.
059
A Put up Job
Artist Thomas Worth, 1883.
Physical
Description 13.75" x 9.5" (image and text). 20" x 16" (matted).
Hand-colored. Vignette.
Scene On the
right, a pious elderly black couple walk through the snow carrying
prayer books. They are heavily bundled against the cold. Five black
children wait mischievously behind a high brick wall to ambush them with
snowballs.
Notes Companion to
A Fall from Grace (060). Black & white prints owned by Library of
Congress and Museum of the City of New York.
060
A Fall from Grace
Artist Thomas Worth, 1883.
Physical
Description 13.5" x 9.25" (image and text). 20" x 16" (matted).
Hand-colored. Vignette.
Scene A black man
and woman have fallen in the snow from a barrage of snowballs. The
guilty little boys run away around a house into the left background.
Notes Companion to
A Put Up Job (059). Hand-colored print owned by Library of
Congress; black & white by Peters Collection and State Historical
Society of Wisconsin (Madison).
061 Speeding on the Darktown Track – “Go it Fancy, Nebber Mind de Wheel Dere Aint no Rumatic
Tire to Us.”
Artist Thomas Worth, 1892
Physical
Description 14" x 10.25" (image and text). 20" x 16" (matted).
Repaired tear, bottom edge. Warped. Torn corner. Printed in color.
Vignette.
Scene A ravaged
horse draws a caricatured black driver and rubber-tired, low-wheeled
sulky from left to right. The sulky is literally falling apart, and the
horse is throwing its shoes. A judges' stand and grandstand can be seen
across the infield, at right.
Notes Companion
and sequel to A Darktown Trotter Ready for the Word. Also owned
by Library of Congress and Museum of the City of New York.
062 Spoiling a
Sensation – The Bicyle Boy on a Bull
Artist Thomas Worth, 1881
Physical
Description 13.5" x 10.5" (image and text). 20" x 16" (matted).
Tears at edge. Hand-colored. Vignette.
Scene A terrified
black man wrapped in a twisted bicycle frame is carried on the back of a
raging bull. A second man dripping with paint and a woman standing next
to a donkey look on with great amusement from the right background.
Notes Companion
and sequel to Creating a Sensation. Black & white print owned by
Library of Congress.
063 Sure of a Bite –
“Golly! Dis Am A High Old Picnic!”
Artist Thomas Worth, 1881
Physical
Description 14" x 11" (image and text). 20" x 16" (matted). Discoloration.
Insect damage. Warped. Foxing.
Hand-colored. Vignette.
Scene As a white
man fishes from the bow of a swamp boat and a black man samples the
contents of the fisherman's picnic basket, an alligator opens its mouth
to bite the latter.
Notes Companion to
Bustin' a Picnic. Black & white prints owned by Library of
Congress and Museum of the City of New York.
064
A
Surprise Party – “Parson,--Ah! Hadn’t I Done Tole Yer Not to Covert Yer Neighbor’s
Fowl?”
Artist Thomas Worth, 1883
Physical
Description 13" x 9.5" (image and text). 20" x 16" (matted).
Hand-colored. Vignette.
Scene A black
parson hides a turkey behind his back as he admonishes two men for
stealing fowl. He holds the bird with his left hand while pointing at
the men with his right. The birds the men have stolen are stuffed in
their clothes, but the heads and feet stick out. The parson's telltale
footprints in the snow lead from the turkey shed in the background.
Notes
Despite the seemingly related subject matter of
A Change of Base
(065) and this print, the two are not considered a set by the
Catalogue Raisonné.
Black & white prints owned by Library of Congress and Museum of the City
of New York. Hand-colored print owned by Metropolitan Museum of Art
(NY).
065 A Change of Base – “I
Jist Done Got a
Call to Anodder Congregation!”
Artist Thomas Worth, 1883
Physical
Description 12.75" x 8.75" (image and text). 20" x 16" (matted). Creases and tears along edges.
Hand-colored. Vignette.
Scene A
gray-haired black preacher races across snow-covered ground holding a
large bird under his right arm. Bottles are flying at him, thrown by a
crowd of blacks chasing him from the right background.
Notes Despite the
seemingly related subject matter of
A Surprise Party (064) and
this print, the two are not considered a set by the Catalogue Raisonné. Black
& white prints owned by Heritage Plantation of
Sandwich (Sandwich, MA), Library of Congress, and Museum of the City of
New York.
066 A Team Fast to the Pole
Artist Thomas Worth, 1883
Physical
Description 13.25" x 9" (image and text). 20" x 16" (matted).
Discoloration at edges. Hand-colored. Vignette.
Scene During a
blizzard, a black couple, the man wearing a coonskin hat, climb up a
pole to escape the snow that is piling up below. The heads of their
alarmed two-mule team and the side of their overturned sleight protrude
from the drifts.
Notes Companion
and sequel to
A Team Fast on the Snow (067). Black & white prints
owned by Library of Congress and Museum of the City of New York.
067
A Team Fast on the Snow
Artist Thomas Worth, 1883
Physical
Description 13" x 9.25" (image and text). 20" x 16" (matted). Hand-colored. Vignette.
Scene A black
couple ride seated on chairs in a homemade sleigh pulled by two mules.
Behind them, in the snow, runs a line of telephone poles.
Notes Companion to
A Team Fast to the Pole (066). Black & white prints owned by
Library of Congress and Museum of the City of New York.
Tobogganing on
Darktown Hill
068 An Untimely Move – “Clar de Track.”
Artist Not signed, 1890
Physical
Description 13.5" x 9.5" (image and text). 20" x 16" (matted).
Hand-colored. Vignette.
Scene Six black
men and boys riding a toboggan down a steep hill are startled as a sow
and two piglets cross directly in front of them.
Notes Companion to
Getting a Hist. This print was published in both black & white
with hand-coloring and in color. Library of Congress and Museum of the
City of New York own color prints; New York Historical Society owns a
hand-colored print.
069 Tonsorial Art in the Darktown Style, Go to de Next Shop- We Done Don’t Handle
Common Niggahs.
Artist John Cameron, 1890
Physical
Description 13.5" x 9.75" (image and text). 20" x 16" (matted).
Top left corner missing. Tear, right edge. Printed in color. Vignette.
Scene Two black
men in barber chairs are attended to by two black barbers. The latter
sneer at a poor black man, dressed in rags, who enters the shop.
Notes Companion to
Scientific Shaving on the Darktown Plan. Library of Congress and
Museum of the City of New York own color prints.
A Darktown Trial
070 The Judge’s Charge – “Gemmen ob de Jury, if Dem Chickens Can’t be
Counted Fur, Dat Culled Pusson Must be Foun Guilty.”
Artist Not signed, 1887
Physical
Description 14" x 10" (image and text). 20" x 16" (matted).
Smudges.
Foxing. Creases and tears, top edge. Discoloration.
Hand-colored. Vignette.
Scene A black
judge at right addresses a jury at the back of a room. The defendant,
accused of stealing chickens, sits on the witness stand at center. A man
with a quill pen, a lawyer in a suit, and a fat policeman sit in front
of the judge.
Notes This print was also published with the title
Trial by Jury: The Judge's
Charge in 1887, being the companion to
Trial by Jury: The Verdict (071).
Black & white print owned by the Museum of the City of New York.
Hand-colored print owned by Metropolitan Museum of Art (NY).
Trial by Jury
071 The Verdict – “We Find de Prisnur Not Guilty Cos Dem Chickens Am Counted
Fur.”
Artist Not signed, 1887
Physical
Description 14" x 10" (image and text). 20" x 16" (matted). Creases and tears along edges and lower half of image.
Discoloration at edges. Hand-colored. Vignette.
Scene The black
jury, seen from the rear, is revealed to be in collusion with defendant;
each man holds a chicken behind his back. At the extreme left, behind an
astonished judge, the defendant capers and sticks out his tongue,
putting his hand to his nose.
Notes This print was also published
with the title
A Darktown Trial: The Verdict
in 1887, being the companion to
Trial by Jury: The Judge's
Charge (070). Black & white prints owned by Library of Congress and Museum of
the City of New York.
072 The Wild West
in Darktown: Attack on the
Deadhead Coach
Artist Not signed, 1893
Physical
Description 14" x 9.25" (image and text). 20" x 16" (matted).
Tears, all edges.
Hand-colored. Vignette.
Scene A stagecoach
full of excited black people firing pistols at spectators who line both
sides of the street races through a town. The undaunted crows throw
stones at the coach, and one woman threatens the ineffectual outlaws
with her broom.
Notes Despite
their related titles,
The Buffalo Chase (073) and this print are
not listed as companions in the Catalogue Raisonné. Hand-colored print owned by Library of
Congress.
073 The Wild West
in Darktown: The Buffalo Chase
Artist Not signed, 1893
Physical
Description 14.25" x 9" (image and text). 20" x 16" (matted).
Tears, left edge.
Stains above central figure. Hand-colored. Vignette.
Scene Black
cowboys on horseback chase four men draped in the full skins of two
buffalo--two men to a skin--and fire at them. Spectators watch from
behind a fence.
Notes
Despite their related titles,
Attack on the Deadhead Coach (072)
and this print are not listed as companions in the Catalogue Raisonné.
Library of Congress owns a hand-colored print.
*Scene descriptions
from Currier and Ives: A Catalogue Raisonné. Detroit: Gale
Research, 1984.
Additional Resources
Racist Images and
Stereotypes
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African Americans in Southern Painting, 1840-1940," Southern
Cultures9 (2003): 67-81 <http://muse.jhu.edu>
1 December 2005.
"A
Taste of Black Erotic Art Should Darktown Comics be Exhibited,"
International Review of African American Art 14:3 (1997).
Hampton University.
Bruce Chadwick, The Reel Civil War: Mythmaking in American
Film (New York: Vintage Books, 2002).
Bryan F. LeBeau, "African Americans in Currier and Ives's
America: The Darktown Series," Journal of American and
Comparative Cultures 23 (Spring 2000): 71.
Thomas F. Gossett, Race: The History of an Idea in America
(New York: Oxford University Press, 1997).
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Currier and Ives
A.
Hyatt Mayor, "A Gift of Currier and Ives Lithographs,"
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November 2005).
A.
Hyatt Mayor, Popular Prints of the Americas (New York:
Crown Publishers, 1973).
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Abbeville Press, 1986).
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(Random House Value Publishing, 1998).
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(22 November 2005).
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the City of New York (New York: Museum of the City of New
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(KP Books, 1987).
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(22 November 2005).
Eds. C. Carter Smith and Cathy Cashion, Currier and Ives: A
Catalogue Raisonne. Gale's Comprehensive Catalogue of the
Lithographs of Nathaniel Currier, James Merritt Ives, and
Charles Currier, 1834-1907 (Detroit: Gale Group, 1984).
There is also Currier and IVews: A Supplement to the
Catalogue Raissone, (Thomson Gale, 1985).
Ed. Colin Simkin, Currier and Ives' America (New York:
Crown Publishers, 1952).
Ed. Larry Freeman, Currier and Ives Pictorial History of American Battle Scenes
(Watkins Glen,
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1990): 15.
F.A. Conningham, Currier
and Ives (Cleveland/New York: American Arts Library, 1950).
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Crown Group, 1983).
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(22 November 2005).
George DeWan, "The Picture of
a Workhorse: Her prodigious output made Brooklyn artist Fanny
Palmer a star for Currier and Ives," Newsday.com, 2005, <http://www.newsday.com/community/guide/lihistory/ny-
past1006,0,6164122.story?coll=ny-lihistory-navigation> (22
November 2005).
Harry T. Peters, Currier
and Ives: Printmakers to the American People (Garden City,
New York: Doubleday, Doran & Co., Inc., 1942).
James P. Gifford, "The
Celebrated World of Currier and Ives: In which heroic fire
laddies raced to battle conflagrations while the police
disappeared in the most amazing way," New York Historical
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(22 November 2005).
Mark E. Neely, Harold Holzer,
and Gabor S. Boritt, The Confederate Image: Prints of the
Lost Cause, (University of North Carolina Press, 2000).
Philip Drennon Thomas, "The
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the Frontier Adventure," American West 19
(January-February 1982), 18.
Roy King and Burke Davis,
World of Currier and Ives (Random House Value Publishing,
Inc., 1987).
Russell Crouse, Mr. Currier
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Museums Association, "Major Currier and Ives Exhibition Opens,"
Museum of Fine Arts, 17 October 2005, <http://www.springfieldmuseums.org/news/index.php?
page_function=details&news_id=24> (22 November 2005).
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America," 1 January 2008 <http://www.currierandives.org/index.html>
(2007).
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Printmaking: The First 150 Years (Washington, D.C.:
Smithsonian Institution Press, 1969).
