141 results in English
Osceola of Florida, Drawn on Stone by Geo. Catlin, from his Original Portrait
Osceola was a Seminole war chief who led the resistance to the campaign by U.S. federal troops to forcibly resettle his tribe to territory west of the Mississippi River. Known as the Second Seminole War (1835-42), this was one of the most destructive campaigns by federal authorities against American Indians. Despite outnumbering the Seminoles ten to one, the U.S. troops failed to secure a quick victory. They then turned to desperate measures and deception, including capturing and imprisoning Osceola under the pretence of negotiating a truce. The American ...
Contributed by Library of Congress
Australia has Promised Britain 50,000 More Men; Will You Help Us Keep that Promise
In World War I, all sides used posters as tools to mobilize their populations for the war effort. Australia fought on the side of its “mother country,” Great Britain. Australian soldiers suffered heavy casualties in the Gallipoli campaign and in the trenches on the Western front. Casualties led to recruiting drives intended to attract new enlistments. This poster by an unidentified artist appeals to the strong sense of loyalty to Britain felt by the Australian people. It shows a kangaroo in front of number 50,000 and in the background ...
Contributed by Library of Congress
Map of the Battles of Bull Run Near Manassas
This printed map by the Office of the Chief Engineer of the War Department details the fighting at the Battle of Bull Run on July 21, 1861. Named for the creek or “run” in northern Virginia along which the fighting took place, Bull Run was the first major battle of the American Civil War. After halting several attacks ordered by Union commander General Irvin McDowell, the Confederates under General Pierre Beauregard launched a successful counterattack that drove the tired and inexperienced Union forces back toward Washington. The failure of the ...
Metropolis
Metropolis, by director Fritz Lang (1890–1976), is generally regarded as a masterpiece of German Expressionist filmmaking and a forerunner of modern science-fiction movies. The film was shot in 1925–26 at the Babelsberg (Berlin) studios of the leading German film company, Universum Film AG (Ufa), and premiered in Berlin in January 1927. This 1926 art-deco poster by German graphic artist and painter Heinz Schulz-Neudamm (1899–1969) was created for the premiere. Lang’s film, based on the novel of the same name by his wife, Thea von Harbou (1888 ...
Contributed by Austrian National Library
Can You Drive a Car? Will You Drive One in France? Immediate Service at the Front!
This World War I poster shows the proud figure of Liberty strongly fending off Death as she protects a wounded soldier, who rests on the back of a vehicle. It was used to recruit American ambulance drivers for service at the front in France. The American Field Service (AFS) originated in 1914, shortly after the outbreak of war, when young Americans living in Paris began volunteering to drive ambulances at the American Hospital of Paris. Members of the AFS were present at every major battle in France and carried more ...
Contributed by Library of Congress
The Polish Victims' Relief Fund
This World War I poster, published in Britain in 1915, shows refugees with children, carrying their possessions as they flee past a burning village. The text appeals for contributions to the Polish Victims' Relief Fund with the words: “The homeless women and children of Poland are far, but need they be far from your hearts? Pray help us to help them!” The honorary secretary of the fund is listed as Miss Laurence Alma Tadema, the daughter of the painter Sir Lawrence Alma-Tadema (1836–1912). Poland was part of the Russian ...
Contributed by Library of Congress
The American Ambulance in Russia
This World War I poster, published in New York circa 1917, solicits funds for a volunteer American ambulance company in Russia. American ambulance services on the Western front in France were extensive and well-organized; this poster advertises a much smaller effort on what was then the Eastern front of the war. The poster shows a medieval Russian soldier on horseback carrying a Russian flag, with a caption, in Russian, stating: “Military loan. Forward for the Motherland.” The illustration is signed by the artist, A.O. Maksimov. Russia was at this ...
Contributed by Library of Congress
Rugby Union Footballers are Doing their Duty. Over 90% Have Enlisted. British Athletes! Will You Follow this Glorious Example?
This World War I recruiting poster, published in London in 1915, shows a rugby player and a soldier side by side, and urges British athletes to enlist in the armed forces. The poster notes that more than 90 percent of Britain’s top rugby players had joined the armed forces and, citing the Times, points out that “Every player who represented England in rugby international matches last year has joined the colours.” Another quotation, “This is not the time to play games,” is from Lord Roberts of Kabul and Kandahar ...
Contributed by Library of Congress
Women are Working Day and Night to Win the War
In World War I, all sides used posters as tools to mobilize their populations for the war effort. With men fighting at the front, women played a great role in sustaining industrial production for the war effort and civilian needs, often by working in urban factories located away from their homes. This British poster by an unknown artist shows women working at a lathe in a factory complex with a Young Women's Christian Association structure visible through the window. The YWCA was engaged in housing women workers, and the ...
Contributed by Library of Congress
Destruction by Fire of Pennsylvania Hall. On the Night of the 17th May, 1838
This dramatic print shows the destruction of Pennsylvania Hall, a large building that was constructed in 1837–38 at Sixth and Haines Streets in Philadelphia as a meeting place for local abolitionist (antislavery) groups. Dedication ceremonies began on May 14, 1838, and continued over several days in a climate of growing hostility from anti-abolitionist forces in the city. On the night of May 17, 1838, an anti-abolitionist mob stormed the hall and set it on fire. Fire companies refused to fight the blaze, and the building was completely destroyed. A ...
Girard College
This lithograph shows a view of Founder's Hall at Girard College in Philadelphia, which was constructed in 1833–47 from designs by Philadelphia architect Thomas Ustick Walters. The hall occupied a site between what became Girard Avenue and Ridge Avenue at Corinthian Avenue. Girard College was established through a bequest from Stephen Girard, a Philadelphia financier and philanthropist, for the creation of a school for poor white male orphans. The illustration is by John Caspar Wild (circa 1804–46), a Swiss-born artist and lithographer, who arrived in Philadelphia from ...
The Girard College, Philadelphia
This lithograph shows an exterior view of Girard College at Girard Avenue, Philadelphia, including Founder's Hall and the eastern and western outbuildings. The school buildings, designed by Philadelphia architect Thomas Ustick Walter in the Greek Revival style, were constructed in 1833–47. Girard College was established through a bequest from Stephen Girard, a Philadelphia financier and philanthropist, for the creation of a school for poor white male orphans. The illustration is by John Caspar Wild (circa 1804–46), a Swiss-born artist and lithographer, who arrived in Philadelphia from Paris ...
Bethel African Methodist Episcopal Church, Philadelphia
This print is an exterior view of the rough-cast second edifice of the Bethel African American Methodist Episcopal Church at 125 South 6th Street in Philadelphia. Pedestrians and parishioners, predominantly women, stroll the sidewalk and enter the building, which is adorned with a simple stone tablet inscribed "Bethel Church." Known as "Mother Bethel," the church was founded in the 1790s by free Blacks who broke away from Saint George’s Methodist Episcopal Church, where they faced racial discrimination. The church’s first building was dedicated in July 1794. The larger ...
A Fourth Day Morning View of Friends Meeting House on Cherry Street, Philadelphia
This print shows the Friends (Quaker) Meeting House on Cherry Street in Philadelphia. Quakers count Sunday as the first day of the week, so the reference in the title to the fourth day is to Wednesday. Members of the Hicksite congregation, including men, women, and children, are shown arriving at and leaving the church. Some of the women carry umbrellas. The caption at the bottom explains: “The Building which is about 42 feet front on Cherry Street by 100 feet deep was commenced on the 19th of the 11th month ...
North-East View of Saint Peter's Church (Episcopal), Philadelphia
This print is a northeast view of Saint Peter’s Episcopal Church, located at Third and Pine Streets in Philadelphia. Well-dressed people, possibly members of the church, are seen walking on the sidewalks along the walls of the churchyard. The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes who was active in the city between about 1825 and 1855. Born in England circa 1773, Breton immigrated to Philadelphia about 1824. In the late 1820s, he contributed illustrations to Annals of Philadelphia, compiled by the ...
Philadelphia Baths, Corner of George and Seventh Streets, near Chestnut Street
This lithograph dating from circa 1829 shows the public baths, located at the corner of George and Seventh Streets, near Chestnut Street, in Philadelphia. The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes who was active in the city between about 1825 and 1855. Born in England circa 1773, Breton immigrated to Philadelphia around 1824. In the late 1820s, he contributed illustrations to Annals of Philadelphia, compiled by the antiquarian John F. Watson. In 1829 Breton entered the lithographic trade to execute the illustrations ...
The Catholic Church of Saint Mary, Philadelphia
This print shows the Roman Catholic Church of Saint Mary, located on Fourth Street between Locust and Spruce Streets in Philadelphia. Men, women, and a small girl dressed in their Sunday finery are shown walking on the sidewalk in front of the church. George Washington and John Adams were among the important figures of the Continental Congress who sometimes attended services at Saint Mary’s, which was built in 1763 and renovated in 1810. The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes who ...
First Congregational Unitarian Church, Philadelphia
This print is a view of the front facade of the First Congregational Unitarian Church, located on the 900 block of Locust Street in Philadelphia. The church was built in 1828 after the designs of Philadelphia architect William Strickland (1788–1854), who was one of the first architects of the Greek Revival style in the United States, as well as a civil engineer and artist. Also shown are pedestrian traffic and a partial view of neighboring buildings obscured by trees. The columns supporting the portico of the church were salvaged ...
Comlyville near Frankford, Philadelphia
This print, published by Louis A. Godey in the first volume of his Lady’s Book (one of the earliest successful women’s magazines in America), is a pastoral view with mill and factory buildings along Frankford Creek in Comlyville, near Philadelphia. It includes the mill, converted to a calico print works by Smith & Brother in 1827, the loom factory of "Mr. S. Steel," and the dye works of "Mr. Horrick," i.e., Jeremiah Horrocks. In the foreground, two horse-drawn wagons and a man travel on Asylum Road. Horses and ...
Road to Philadelphy
This circa 1830 print by Edward Williams Clay (1799–1857) caricatures the pretentiousness and prejudice of early 19th-century Philadelphia Quakers toward people they regarded as their social inferiors, but it also mocks those seeking to imitate the Quaker elite. On a Philadelphia road in front of a small house with an open picket fence and a visitor arriving on horseback, a raggedly dressed, dark-skinned traveler with buck teeth, possibly an Irishman or African American, asks a rotund Quaker man and his daughter, "I say, this isn't the road to ...
Manayunk
This landscape print shows a couple walking along the bank of the Schuylkill River near the industrial village of Manayunk. A large tree stands in the foreground and small factories and dwellings are visible in the background. Also shown are groves of trees, rocks, and ground cover. Located along the east bank of the river, northwest of Philadelphia, Manayunk played an important part in the early industrial development of the United States. It was the site of large textile mills, which were built to take advantage of Manayunk’s plentiful ...
Bowlby and Weaver's Hardware Store, Number 77, Market Street, Philadelphia
This print shows Bowlby & Weaver's Hardware Store, located at 77 Market Street (above Second Street) in Philadelphia. It was 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, 1831). The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes, who was active in the city between about 1825 and 1855. Born in England circa 1773, Breton immigrated to Philadelphia around 1824. In the late 1820s, he contributed illustrations to Annals of Philadelphia, compiled by the antiquarian John F. Watson. In 1829 Breton entered the lithographic trade to execute the illustrations for the Annals. He worked extensively with the firm of Kennedy & Lucas, operated by David Kennedy and William B. Lucas, which produced Annals of Philadelphia. Breton also contributed to other publications at this time, including Mease and Porter's Picture of Philadelphia, also produced by Kennedy & Lucas, the first commercial lithographers in Philadelphia.
Dawson's Brewery, Northwest Corner of 10th and Filbert Streets, Philadelphia
This 1831 lithograph depicts Dawson's Brewery, located at the northwest corner of 10th and Filbert Streets in Philadelphia. Two men are seen loading barrels of beer onto a horse-drawn cart on the cobblestone street in front of the brewery. The print was 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, 1831). The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia ...
Moss, Upholsterer, Number 127, Walnut Street, Philadelphia
This 1831 lithograph depicts the Moss upholstery shop, located at 127 Walnut Street (above Fourth Street) in Philadelphia. The signs beneath the two front windows of the shop advertise Venetian blinds and bedding. The print was 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, 1831). The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes who was active in the city ...
Loud and Brothers Piano Forte Manufacturers, Number 150, Chestnut Street, Philadelphia
This 1831 lithograph print shows the Loud & Brothers piano factory and shop, located at 150 Chestnut Street (above Sixth Street) in Philadelphia. Pianos can be seen through the window at the front of the shop. The print was 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, 1831). The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes who was active in the city between about 1825 and 1855. Born in England circa 1773, Breton immigrated to Philadelphia around 1824. In the late 1820s, he contributed illustrations to Annals of Philadelphia, compiled by the antiquarian John F. Watson. In 1829 Breton entered the lithographic trade to execute the illustrations for the Annals. He worked extensively with the firm of Kennedy & Lucas, operated by David Kennedy and William B. Lucas, which produced Annals of Philadelphia. Breton also contributed to other publications at this time, including Mease and Porter's Picture of Philadelphia, also produced by Kennedy & Lucas, the first commercial lithographers in Philadelphia.
Philadelphia Citizen's Line of Steam Boats to New York and Baltimore
This lithograph of 1831 depicts the terminal of the Citizens Line of steamboats, located at the end of Arch Street on the Delaware River in Philadelphia. The steamboat is lying low in the river, and passengers are seen coming and going on Arch Street. The company office is in the left foreground. The print was 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, 1831). The illustration ...
Franklin Marble Mantel Manufactory, Race Street between 6th and 7th Street, Philadelphia
This lithograph of 1831 depicts the Franklin Marble Mantel Manufactory, located on Race Street between 6th and 7th Streets in Philadelphia. A sign on the facade of the building advertises “Marble Mantels, Tombs &c. neatly executed by Peter Fritz.” Workmen are seen on the sidewalk alongside the building while a clerk looks out the front door. The print was 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, 1831). The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes, who was active in the city between about 1825 and 1855. Born in England circa 1773, Breton immigrated to Philadelphia around 1824. In the late 1820s, he contributed illustrations to Annals of Philadelphia, compiled by the antiquarian John F. Watson. In 1829 Breton entered the lithographic trade to execute the illustrations for the Annals. He worked extensively with the firm of Kennedy & Lucas, operated by David Kennedy and William B. Lucas, which produced Annals of Philadelphia. Breton also contributed to other publications at this time, including Mease and Porter's Picture of Philadelphia, also produced by Kennedy & Lucas, the first commercial lithographers in Philadelphia.
View of the Glass Works of T.W. Dyott at Kensington on the Delaware, near Philadelphia
This lithograph of 1831 depicts the glass works owned by T.W. Dyott at Kensington on the Delaware River near Philadelphia. Ships are visible on the river, and smoke is rising from the chimneys of these early industrial buildings. The print was 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, 1831). The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes ...
Wetherill and Brothers White Lead Manufactory and Chemical Works, Corner of 12th and Cherry Streets, Philadelphia
This lithograph of 1831 depicts the Wetherill & Brothers White Lead Manufactory & Chemical Works, located at the corner of 12th and Cherry Streets in Philadelphia. Barrels, a horse-drawn cart, and a few workmen are seen in the courtyard of the U-shaped industrial complex, while dark smoke rises from several chimneys. White lead is a chemical compound made up of lead, carbon, oxygen, and hydrogen, historically used to make white paint. It was an important industrial product in 19th-century America, later banned for use in paint in the United States and most other countries as a cause of lead poisoning. The print was 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, 1831). The illustration is by William L. Breton, a watercolorist and early lithographer of Philadelphia scenes who was active in the city between about 1825 and 1855. Born in England circa 1773, Breton immigrated to Philadelphia around 1824. In the late 1820s, he contributed illustrations to Annals of Philadelphia, compiled by the antiquarian John F. Watson. In 1829 Breton entered the lithographic trade to execute the illustrations for the Annals. He worked extensively with the firm of Kennedy & Lucas, operated by David Kennedy and William B. Lucas, which produced Annals of Philadelphia. Breton also contributed to other publications at this time, including Mease and Porter's Picture of Philadelphia, also produced by Kennedy & Lucas, the first commercial lithographers in Philadelphia.
Roper's Gymnasium. 274 Market Street, Philadelphia
This circa 1831 print is an advertisement for the gymnasium operated by James Roper on the 800 block of Market Street in Philadelphia. The illustration shows the interior of the facility, in which men exercise in front of a crowd of spectators. On the right, three men perform moves on a balance beam next to a wall with a rack from which boxing gloves and squash rackets hang. Beside the beam, two men wearing boxing gloves are talking near the pommel horse. In the front center and left of the ...
American Classical and Military Academy at Mount Airy, Germantown, 8 Miles from Philadelphia
This lithograph shows the American Classical and Military Academy in the Mount Airy section of Germantown, Philadelphia, Pennsylvania, located some eight miles (13 kilometers) from the center of Philadelphia.  The right wing was built in 1750 as “Mount Airy,” the country seat of Pennsylvania Chief Justice William Allen, and early in the 19th century the area took the building’s name. Founded as Mount Airy Seminary (later Mount Airy College or Collegiate Institute) in 1807, the school served as a military academy in 1826–35 under the superintendence of Augustus ...
Horizontorium
This lithograph shows a morphed view of the gothic Bank of Philadelphia building erected in 1808 to designs by Benjamin Henry Latrobe at the southwest corner of Fourth and Chestnut Streets. The original drawing is by William G. Mason, whose perspective of the bank makes it look almost like a cathedral. The print is by John Jessie Barker (active circa 1815−60) and is the only known example of his work. A gate, lawn, and trees surround the building and a turreted outbuilding is visible on the property. Couples and ...
Railway Depot at Philadelphia
This lithograph of 1832 shows the depot of the Philadelphia, Germantown, and Norristown Rail Road Company, located at the junction of Green and Ninth Streets, Philadelphia. In the foreground is a locomotive, which is seen pulling passenger cars. The Philadelphia, Germantown, and Norristown Rail Road Company was incorporated on February 17, 1831, under a charter enacted by the Pennsylvania legislature. Rails were laid between Philadelphia and Germantown and the line was opened on June 6, 1832. The first trains were drawn by horses and covered the six miles (9.66 ...
The Gold and Silver Artificers of Philadelphia. In Civic Procession, 22 February 1832
The event shown in this lithograph is the civic procession held in Philadelphia on February 22, 1832, in honor of the centennial anniversary of George Washington's birth. Onlookers cheer the participants in front of the Second Bank on Chestnut Street, between 4th and 5th Streets. City officials and other prominent people of Philadelphia lead the parade, followed by tradesmen, volunteer fire companies, and the military. The top-hatted artisans (the artificers of the title, who struck special commemorative medals for the event) are led by a mounted parade marshal, their ...
Friends Asylum for the Insane near Frankford
This lithograph depicts the first private psychiatric hospital in the United States as it appeared in the early 1830s. Known as the Friends’ Asylum for the Insane, it was founded in 1813 by the Society of Friends (also called the Quakers) and opened to patients in 1817. The institution stood on land that formerly was a 52-acre farm in Oxford Township, near Frankford, six miles (10 kilometers) northeast of the center of Philadelphia. Shown here is an exterior view of the almshouse building as it appeared after two patient wings ...
Taylor and Teese, Saddlers, and A. R. Chambers, Currier, 67 and 69 Chestnut Street, Philadelphia
This lithographic advertisement shows the four-story adjacent storefronts for Andrew R. Chambers, leather dealer, and Taylor & Teese, saddlers, at 67−69 (now 223−25) Chestnut Street in Philadelphia. Signage for the businesses, the street numbers, and a drain pipe marked "1832" adorn the building. Merchandise fills the display windows of Taylor & Teese and the sidewalk in front of the store is piled up with a stack of trunks, a harness, saddles, and a feedbag. Rolled merchandise is also visible through the open doorway of Chambers. Taylor & Teese and Chambers were ...
Fairmount Waterworks. From the Forebay
This lithograph is a partial view of the Fairmount Waterworks, on the Schuylkill River in Philadelphia, one of America’s earliest municipal water-treatment systems. Powered consecutively by steam engines, waterwheels, and pumps that lifted water to reservoirs on a hill (Faire Mount), the waterworks and its beautiful setting were a tourist attraction from the beginning. They are seen here from the forebay, the reservoir from which the water was drawn to run the equipment. The plant was designed by Frederick Graff, and the result was an innovative engineering success and ...
Philadelphia Arcade. Joseph L. Moore, Dealer in Fancy & Staple Dry Goods
This lithograph by George Lehman (circa 1800–70) shows the south front of the Philadelphia Arcade, which was designed by John Haviland and erected in 1826−27 on Chestnut Street between 5th and 6th Streets. Joseph L. Moore was a dealer in fancy and dry goods in New York, and this advertisement is for his Philadelphia branch, with a separate section for selling wholesale. The legend says that the store “is constantly receiving from New-York auctions every description of goods in his line which will be sold at very reduced ...
Eastern Penitentiary of Pennsylvania. Near Philadelphia
This hand-colored lithograph shows a view looking past farmland to the Eastern Penitentiary of Pennsylvania. In the foreground, two boys sit in a fenced pasture in which cows graze near sheds and an enclosed pond with ducks swimming on it. In the background, a farm is visible in front of the prison at which a carriage is parked and a man rides on horseback. The penitentiary was built in 1823–36 after the designs of John Haviland and opened in an unfinished state in 1829. Located at 2101–99 Fairmount ...
View of the Philadelphia Alms House: Blockley
This 1835 lithograph by George Lehman shows the Blockley Alms House in Philadelphia, as seen from Hyde Park on the east bank of the Schuylkill River. The view shows the riverbanks where two men fish and cows graze. A two-masted sailing ship passes by, with other ships on the river and the sprawling city stretched out in the background. William Strickland (1788–1854), a founder of Greek Revival architecture in the United States, designed the quadrangle of four large buildings that formed the almshouse. The original Philadelphia Alms House was ...
Girard College, Main Building, Philadelphia
This print is a view of Founder's Hall, Girard College, Philadelphia, issued in around 1835 as a souvenir of the building while it was under construction. The text at bottom announces: “Girard College. Main Building. Now erecting near Philadelphia under the superintendence of T.U. Walter, Esq.” The building was designed in the Greek Revival style by Philadelphia architect Thomas Ustick Walter and constructed in 1833-47. It occupied a site between what became Girard Avenue and Ridge Avenue at Corinthian Avenue. Small figures are seen in front of the ...
Philadelphia Exchange
This lithograph shows the view looking northeast from the intersection of Dock, Third, and Walnut Streets in Philadelphia to the Merchants' Exchange. Built between 1832 and 1833 to the designs of William Strickland (1788–1854), the exchange functioned as a commercial and financial hub and post office and was the first large central building in Philadelphia for the conduct of business. Men are seen walking, carriages are in the streets, and a horse-drawn omnibus has arrived at the front of the building. Fashionably dressed women stand on the corner across ...