Caricature of Jewish participation in the National Guard during the Revolutions of 1848. In German, the text reads : "Hascheln! Habts Acht! Mer sein jetzt gekümmen vor unsern Kümmandanten sein Haus. Regimentstrommler! Schlog ein Werbel, trrrrrrrr - soll ach Hoch leben." (On the banner) : "Profit. Gleiche Rechte mit den Christen!" In English, the text reads : "Attention! Pull yourselves together, troops! We are marching to our commander's house. Regiments, beat your drums!" (On the banner): "Profit. Equal rights with Christians!" Lithograph printed and published Vienna: F. Werner, Mariahilf.
Caricature of Jewish participation in the National Guard during the Revolutions of 1848. In German, the text reads : "Hascheln! Habts Acht! Mer sein jetzt gekümmen vor unsern Kümmandanten sein Haus. Regimentstrommler! Schlog ein Werbel, trrrrrrrr - soll ach Hoch leben." (On the banner) : "Profit. Gleiche Rechte mit den Christen!" In English, the text reads : "Attention! Pull yourselves together, troops! We are marching to our commander's house. Regiments, beat your drums!" (On the banner): "Profit. Equal rights with Christians!" Lithograph printed Leipzig: J. G. Fritzsche.
Black-and-white engraved caricature depicting little Israel having swallowed a ducat. In German, the text reads : "Das kleine Israelchen bemerkt, wie sein Tate Baruch eine so große Liebe für das Gold hat. Der Knabe denkt: 'Es muß doch seyn ebbes delicates um einen Ducaten!' Er kommt über des Etten Casse, sieht Ducaten, nimmt, leckt und -- verschluckt einen! - 'O wai geschrien!' - Es wird Lärm in Hause; der Kremnitzer muss wider ins Tageslicht. Israelchen wird auf den Tisch gesetzt. Tate Baruch attaquirt in Front mit Rhabarber, während Memme Rachel mit Lavements in den Rücken fällt. Pefselche, Schmul und Löbche - der seinen neuen Rock aus alten Beinkleidern an hat - harren ängstlich der Wiedergeburt ihres R 5,30,, mehr werthen Bruders; und siehe, das Goldsöhnchen lässt sie nicht länger warten! In English, the text reads : "Little Israel notices what a great love father Baruch has for money. The boy thinks: 'There must be something delicious about a ducat!' He comes to the case, sees the ducats, takes one, licks and - swallows one! 'Oy vey!' he yells. Noise takes over the house; the coin must be brought to daylight again. Little Israel is placed onto the table. Father Baruch attacks him from the front with rhubarb, while Mother Rachel gives him an enema in the back. Pefselche, Schmul, and Löbche - who is wearing a new skirt made out of old trousers - anxiously await the rebirth of their R 5,30,, worth from their brother; and look, the little gold son won't wait any longer!"
Hand-colored lithograph of the interior of the Hamburg Temple (Israelitischer Tempel) in the Poolstraße, which was inaugurated on September 5, 1844. Lithograph by Heinrich Jessen. Published Hamburg: B. S. Berendsohn.
Black-and-white offset print reproduction with an aerial view of Berlin, including the New Synagogue. Published in the July 29, 1871, edition of Every Saturday.
Black-and-white wood engraving of a Jewish man from Algiers. Wood engraving by Joseph Bara after Adrien Dauzats. Published in Les Français peints par eux-mêmes, Volume 3.
Hand-colored wood engraving of a Jewish man from Algiers. Wood engraving by Joseph Bara after Adrien Dauzats. Published in Les Français peints par eux-mêmes, Volume 3.
Color lithograph of a Jewish woman from Algiers. Lithograph printed Paris: Testu & Massin. From Géographie générale, physique, politique et économique by Louis Grégoire, published Paris: Garnier frères.
Engraving and text from Darstellungen menschlicher Narrheiten (Representations of human follies). In German, the text reads : "Was wolt Ihr Juden bey den Sachen, / soll man euch auch zu Narren machen. / Sie wollen einen Wipper krönen. / Der sich mit ihnen wird versöhnen. / Weil er so viel Profit genomen, / als feinen Juden zu gekomen." In English, the text reads : "What do you Jews want by those things, should you all be made into fools as well. / They want to crown a "Wipper," / Who will reconcile with them. / Because he took so much profit, that he became a well off Jew." This engraving is part of a series satirizing the foolish schemes people believed during the economic crisis in the early 17th century. The title "Der Kipp-und Wipper-Narr" refers to the phrase used to describe this period of hyperinflation (Kipper- und Wipperzeit), literally meaning to "Tipper and See-saw," which refers to the unstable state of the economy.
Black-and-white etched satire on attitudes toward vaccination. Edward Jenner, pioneer of the smallpox vaccine, is portrayed as a Jew. He holds a syringe labelled "Kuhpocken" (cowpox) and "Humanität" (humanity). Next to him sits a Jewish elder who has one foot on a money bag. Another Jew reads from a document labeled "Für Die Juden" (for the Jews), handed to him on a cushion embroidered with a Star of David by a non-Jewish man astride a sow. He is followed by a rabbi praying and another Jew. At left, a non-Jewish woman holds the sow's rope in one hand and, in the other, a paper labeled "Freiden Mädchen - Berliner Blätter" (prostitute - Berlin Gazette). The etching indicates that the publication of Jenner's work is a Jewish conspiracy.
Hand-colored engraving depicting peoples of Africa, including a Jewish girl from Algiers and a Jewish woman from Morocco. Engraving by Pierre after a drawing by Henri Félix Emmanuel Philippoteaux. Printed Paris: Laurent imp. Published Paris: Dufour, Mulat et Boulanger.
Hand-colored engraving of a Jewish merchant from Algeria. Engraving by Monnin after Francois Claudius Compte-Calix. From Musée cosmopolite, published Paris: Ancienne Mon Aubert.
Reproduction of a black-and-white woodcut and text from Das Ständebuch (The Book of Trades) with text by Hans Sachs and illustrations by Jost Amman. The book describes trades practiced in 16th-century Nuremberg. In German, the text reads : "Bin nicht vmb sonst ein Jüd genannt / Ich leih nur halb Gelt an ein Pfandt / Löst mans nit zu gesetztem Ziel / So gilt es mir dennoch so viel / Darmit verderb ich den loßn hauffn / Der nur wil Feyern / Fressn vnd Sauffn / Doch nimpt mein Handel gar nit ab / Weil ich meins gleich viel Brüder hab." In English, the text reads : "I'm called a Jew because, in dearth, / Pledge I pawn at half its worth; / If not redeemed on time, it will / Make my profits higher still. / I thus destroy all carless folk, / While they eat and drink and joke. / My business never suffers, for / I have many brothers more."
Black-and-white woodcut and text from Das Ständebuch (The Book of Trades) with text by Hans Sachs and illustrations by Jost Amman. The book describes trades practiced in 16th-century Nuremberg. In German, the text reads : "Bin nicht vmb sonst ein Jüd genannt / Ich leih nur halb Gelt an ein Pfandt / Löst mans nit zu gesetztem Ziel / So gilt es mir dennoch so viel / Darmit verderb ich den loßn hauffn / Der nur wil Feyern / Fressn vnd Sauffn / Doch nimpt mein Handel gar nit ab / Weil ich meins gleich viel Brüder hab." In English, the text reads : "I'm called a Jew because, in dearth, / Pledge I pawn at half its worth; / If not redeemed on time, it will / Make my profits higher still. / I thus destroy all carless folk, / While they eat and drink and joke. / My business never suffers, for / I have many brothers more."
Black-and-white offset print reproduction of Jewish women from Tunis. From the article "A Tourist in Tunis" by Ralli Stenning, published in the May 1882 edition of Frank Leslie's Sunday Magazine.
Black-and-white offset print reproduction depicting Moses and the Ten Commandments. Published in the June 1880 edition of Frank Leslie's Sunday Magazine.
Black-and-white steel engraving of the Tomb of Absalom in Jerusalem. Engraving after a drawing by Louis François Cassas. From Palestine : description géographique, historique, et archéologique by Salomon Munk, published Paris: Firmin Didot frères.
Black-and-white engraving of the Tomb of Absalom in Jerusalem. After a drawying by Luigi Mayer. From A series of twenty-four views illustrative of the Holy Scriptures, published London: R. Bowyer & M. Parkes.
Black-and-white offset print reproduction of the Tomb of Absalom, Tomb of Benei Hezir, and Tomb of Zechariah in the Valley of Jehoshaphat (Kidron Valley) in Jerusalem.
Black-and-white wood engraving depicting Moses receiving the Ten Commandments. Wood engraving by Richard Julius Jungtow after Julius Schnorr von Carolsfeld. From Die Bibel in Bildern : 240 Darstellungen, erfunden und auf Holz gezeichnet von Julius Schnorr von Carolsfeld, published Leipzig: Wigand.
Black-and-white offset print reproduction of Jewish women from Tunis. From the article "Three continents in three weeks" by David Ker, published in the July 1879 edition of Frank Leslie's Popular Monthly.
Black-and-white offset print reproduction of the interior of the Central Synagogue on Great Portland Street in London, on the occasion of its consecration. Published in the May 14, 1870, edition of Harper's Weekly.
Caricature of Moritz Mohl at a lectern during the 1848 Frankfurt Parliament, as other members of parliament approach him in anger. At the Frankfurt Parliament, Mohl argued against legal equality for Jews; he was constantly interrupted by other members of the assembly. Caricature by Alfons von Boddien. Lithograph printed Frankfurt am Main: Eduard Gustav May.
Black-and-white steel engraving of the Cave of Jehoshaphat in Jerusalem. Engraving after a drawing by Léon Gaucherel. From Palestine : description géographique, historique, et archéologique by Salomon Munk, published Paris: Firmin Didot frères.
Hand-colored engraving of the Tomb of Absalom in Jerusalem. Engraving by Giuseppe Carocci. From Aggiunte all'opera Il costume antico e moderno di tutti i popoli, cogli analoghi disegni, Volume 1, by Giulio Ferrario, published Firenze: V. Batelli.
Hand-colored lithograph depicting a crowd outside of the Stock Exchange. The caption reads : "The warning sign is no better here than in the vineyard." The sign reads "Verbotener Weg" (entry forbidden).
Black-and-white lithograph depicting a Jewish peddler and Gabriel Riesser, member of the Frankfurt Parliament, mocking Heinrich von Gagern, who is walking past carrying bags of money on both shoulders. In German, the text reads : --1ster Jud: "Nu! Wie tragt der Mann sou schwär?" --2ter Jud: "S'nit sou arig worum er tragt jou uf bade Achsle! Bey mei lang Lebe ich hab ka Kinesinne druf!" In English, the text reads : --First Jew: "Nu! How is that man carrying something so heavy?" --Second Jew: "It's not that hard, that's why he's carrying them on both shoulders! In my whole life, I've never thought of that! Printed Frankfurt am Main: C. Knatz.
Black-and-white steel engraving of the Tombs of the Kings in Jerusalem restored. Engraving after a drawing by Louis François Cassas. From Palestine : description géographique, historique, et archéologique by Salomon Munk, published Paris: Firmin Didot frères.
Black-and-white steel engraving of the Tombs of the Kings in Jerusalem. Engraving after a drawing by Louis François Cassas. From Palestine : description géographique, historique, et archéologique by Salomon Munk, published Paris: Firmin Didot frères.
Black-and-white engraving of the Tombs of the Sanhedrin in Jerusalem. After a drawing by Luigi Mayer. From A series of twenty-four views illustrative of the Holy Scriptures, published London: R. Bowyer & M. Parkes.
Color lithograph of the Tombs of the Kings in Jerusalem. After a lithograph by Louis Haghe from a drawing by David Roberts. From The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, Volume 1, published London: Lithographed, printed and published by Day & Son.
Black-and-white offset print reproduction of the Tombs of the Kings in Jerusalem. Published in the July 29, 1854, edition of Gleason's Pictorial Drawing-Room Companion.
Black-and-white steel engraving of the Tombs of the Kings in Jerusalem. From The city of the Great King; or, Jerusalem as it was, as it is, and as it is to be by James Turner Barclay, published Philadelphia: Challen.
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![[Nu! Wie tragt der Mann sou schwär?...]](https://iiif.library.cofc.edu/iiif/2/40658/full/200,/0/default.jpg)
