Philadelphia on Stone Biographical Dictionary of Lithographers

The Philadelphia on Stone Biographical Dictionary of Lithographers contains the biographies of over 500 artists, lithographers, printers, and publishers who worked in commercial lithography in Philadelphia between 1828 and 1878.

Collection Metadata

Title: Philadelphia on Stone Biographical Dictionary of Lithographers
Description: The Philadelphia on Stone Biographical Dictionary of Lithographers contains the biographies of over 500 artists, lithographers, printers, and publishers who worked in commercial lithography in Philadelphia between 1828 and 1878.
Identifier: Islandora:POSB2
Language: eng

Pages

: LCP-RosenthalLN-5-2526-F-b.jpg; Louis N. Rosenthal, born ca. 1824 in Turck, Russian Poland, was a pioneer chromolithographer who operated the Philadelphia lithography firm, the Rosenthals, with his brothers Max, Morris, and Simon 1851-ca. 1872. Raised in Turck, Russian Poland, the four brothers departed their home country at the bequest of their father to avoid draft into the army. Louis N. and Simon (buried in Federal Street Cemetery, Philadelphia) were indentured to lithographic printers in London, Morris was sent to Rabbinical School in Berlin, Germany, and Max was indentured to artist and lithographer Martin Thurwanger in Paris. Following his indenture in London, Louis N. Rosenthal arrived in New York aboard the "Spartan" on September 29, 1848., Around 1849, he established himself in the Philadelphia lithographic trade and partnered briefly with Peter Kramer in 1850. Around the same time, brother Max arrived in Philadelphia with Thurwanger and worked for a short time under Napoleon Sarony. In 1851, he and Louis N. established the firm L. N. Rosenthal, also known as Rosenthals, at the southeast corner of Third and Dock Streets and chromolithographed nine plates for Charles W. Webber's "Hunter-Naturalist" (1851). Peters and Marzio suggest that Max operated primarily as the artist, and Louis as the printer, publisher and proprietor of the establishment. Within the year, Rosenthal received a "First Premium" award from the Franklin Institute for chromolithography and became one of the earliest Philadelphia firms to specialize in this branch of lithography. The Rosenthals issued illuminated book plates, sheet music covers, advertisements, labels, geological and anatomical prints, portraits, maps, views of buildings, and Civil War scenes., In 1857, Rosenthal relocated to a larger space with new equipment at the northwest corner of Fifth and Chestnut Streets. By 1863, the business relocated to 327 Walnut Street, where on September 15, 1872 fire struck and caused severe water damage. Soon thereafter, the Rosenthal firm dissolved after twenty-plus years in Philadelphia and Rosenthal relocated to Chicago., Rosenthal married Louisa (b. ca. 1830) in Philadelphia by 1850 and resided in the Penn Ward with his brothers Max and Samuel (b. ca. 1831). By 1860, Rosenthal and his wife resided with their six children at 316 New Street, immediately south of Vine Street (Ward 6). Two more children were born by 1870, by which time the family had relocated to 1036 Pine Street in Center City (Ward 7). The Rosenthal family moved to Chicago ca. 1873, where Louis continued to work as a lithographer and printer until his death sometime after 1900.

: Rosenthal, Max; Max Rosenthal, born on November 22, 1833 in Turck, Russian Poland, was a skilled lithographer, mezzotint engraver, and painter who delineated the majority of the chromolithographs for the firm he operated with his brothers Louis N., Morris (i.e., Maurice), and Simon Rosenthal in Philadelphia from 1851-ca. 1872. Trained as an engraver and lithographer in Paris by Martin Thurwanger since the age of thirteen, he arrived in Philadelphia with his master artisan ca. 1849 to work under contract for Duval & Company. After finishing his studies at the Pennsylvania Academy of the Fine Arts, he partnered with his brother Louis N. in the lithographic establishment L. N. Rosenthal also known as Rosenthals at the southeast corner of Third and Dock Streets in 1851. Within the year, the establishment received a "First Premium" award from the Franklin Institute for chromolithography., According to Peters and Marzio, Max operated primarily as the artist, and Louis as the printer, publisher and proprietor of the firm that produced illuminated book plates, sheet music covers, advertisements, labels, geological and anatomical drawings, portraits, maps, and views of buildings. During the Civil War, Rosenthal also issued a series of camp and battle scenes based on views created by Max when he traveled with the Grand Army of the Potomac between 1861 and 1863., In 1857 the Rosenthal firm relocated to a larger space with new equipment at the northwest corner of Fifth and Chestnut Streets. By 1863, the business relocated to 327 Walnut Street, where on September 15, 1872 fire struck and caused severe water damage. Soon thereafter, the Rosenthal firm dissolved after twenty-plus years in Philadelphia and Louis N. relocated to Chicago, while Max remained in Philadelphia., Rosenthal continued to work as an artist and lithographer until the 1910s, often with his son Albert (1863-1939) at 831 Arch Street. Together in 1893 they published etchings on copper of portraits of the Attorneys General of the United States. Later in life, Rosenthal, an instructor for the Art Students Union, experimented more with mezzotint engraving as well as produced oil paintings and watercolors. Outside of the art trade, he was a member of the Historical Society of Pennsylvania., After arriving in Philadelphia ca. 1849, Max resided briefly with his brother Louis in the Penn Ward, and shortly after married Caroline (b. ca. 1841) and moved to Kensington. They had one daughter, Rebecca (b. ca. 1870) by 1860. By 1870, they had relocated to Center City (Ward 7) with six children. By 1880, their household at 537 Spruce Street in Center City included four more children. The 1900 census shows another child was born after 1880 and that Rosenthal was widowed. He resided at 150 North Twentieth Street (Ward 10) at the time of his death on August 8, 1918.

: Rosenthal, Morris; See Rosenthal, Louis N.

: Rosenthal, Simon; See Rosenthal, Louis N.

: Rosenthals; See Rosenthal, Louis N.

: Ross, Charles; Charles Ross, born in Pennsylvania in 1840, worked as a lithographer and printer in Philadelphia between 1861 and ca. 1890. Early in his career in the 1860s, Ross resided in Northern Liberties at 109 Green Street (Ward 11) and 929 North Front with his wife Kate Clancy (ca. 1838-1862), and fellow lithographer and brother-in-law Peter Clancy. Possibly the same Charles Ross who relocated to 1001 Wistar Street in 1864 and resided about ten years (1867-1877) at 1737 Moravian Street.

: Rougut, Michael; Michael Rougut, born ca. 1829 in France, worked as a lithographer in Philadelphia in 1860, He resided in the boarding house of Abraham Koehler with several other French-born artisans, including fellow lithographer Michael Victor in Center City (Ward 5).

: Roux, Francis; Francis Roux, born ca. 1825 in France, worked as a lithographer in Philadelphia in 1860. He resided with his French-born wife Julia (b. ca. 1830), an artificial flower maker, and daughter in the household of lithographer Alphonse Bigot in North Philadelphia (Ward 14). Roux owned personal estate valued at $200.

: Ruen, Charles; Charles Ruen, born ca. 1823 in Switzerland, worked as a lithographer in Philadelphia in 1860. He resided in the household of French-born lampmaker Alfred Bourlier in Ward 6.

: Sachs, Frederick; Frederick Sachs, born ca. 1817 in Germany, worked as a lithographer in Philadelphia in 1850. He resided in the Pine Ward as the head of a household that included his wife Elizabeth (b. ca. 1824) and three children, including two born between ca. 1845 and ca. 1846 in Germany and a son born in Pennsylvania ca. 1848.

: Sched, H.; H. Sched was the draftsman of the lithograph "The Old Phila. Fire Department. Period of 1850. The Great Engine contest on Sunday Evening July 7th 1850 at 5th & Market Sts." printed by T. Leonhardt & Son after the work of Charles Spieler in 1882., Sched is also probably the H. Scheda who delineated the membership certificate "Second Regiment Infantry Corps National Guards First Brigade Headquarters N.G. of PA. Company" printed by T. Leonhardt & Son in 1881.

: Scheible, William F.; William F. Scheible, born ca. 1822 in Pennsylvania, was a stencil cutter and awning maker, who also practiced lithography during the late 1850s. Scheible operated his establishment from 47-49 South Third Street, which he advertised through an 1859 chromolithographed trade card and broadside illustrated with designs by Philadelphia engraver and lithographer Frederick J. Pilliner. Scheible operated the business until ca. 1876 and his death when his wife Elizabeth (b. ca. 1837) assumed operations of the business that was reestablished as Scheible & Co. Scheible also exhibited embossed cards praised for their "beautiful execution" at the 1856 Franklin Institute Exhibition of American Manufacturers; earned enough income to be taxed during the Civil War; and in the 1870 census reported personal estate valued at $3,000 (i.e., $51,000 in 2008) in addition to his wife's real estate valued at $7,000., Throughout the 1860s and 1870s Scheible resided in North Philadelphia with his wife and children at 821 Duane Street (1860-1862), 1524 North Twelfth Street (1863-1875), and 2036 North Twelfth Street (1876).

: Schell, Francis H.; Francis H. Schell, born in 1831 in Philadelphia, and most known as a periodical illustrator, also worked as a lithographic artist in Philadelphia during the 1850s and 1860s. Listed as a lithographer as of the 1850 census, Schell came from a large family with seven brothers and sisters involved in the professions of currier, grocer, clerk, and stone cutter. During the early 1850s, Schell often worked with William H. Rease on advertisements printed by Alphonse Brett and Thomas Sinclair as well as formed a short-lived partnership with Rease ca. 1855. He also drew cityscape views in addition to portraits printed by Wagner & McGuigan. During the Civil War, Schell refocused his art work to periodical illustrations for "Frank Leslies Illustrated Weekly," although in 1865, he drew the design for the lithograph "In Commemoration of the Great Parade of the Philadelphia Fire Department October 16th 1865." Following the war, he assumed supervision of the art department of the weekly and later entered a long term partnership with fellow illustrator Thomas Hogan through the 1880s. During the 1860s, Schell's worked proved profitable and in 1870 he held a personal estate of $6,000 and had a servant at his household in 1870 and 1880. Schell died March 31, 1909 while residing with his son at 5227 Archer Street in Germantown and was probably buried at the Odd Fellows Cemetery, the place of internment of his wife. He remained listed in city directories as an artist until the year of his death., Schell lived in Philadelphia most of his life, except for a brief time in Camden, N.J. around 1860. Residences included the Northern Liberties Ward 4 in 1850 and by 1870, a dwelling at 1641 North Eighth Street in which he lived through the 1880s. Schell was married to Martha (b. ca. 1838) with whom he had several children, including son, the artist Frank Cresson Schell (1857-1942).

: Schell, John J.; John J. Schell, born ca. 1821 in Massachusetts, worked as an engraver and possibly lithographer, including in the partnership Jacobus & Schell, in Philadelphia in the 1850s and 1860s. First listed in city directories in 1846 as a broker who resided at 118 Catherine Street, Schell described his occupation as clerk in the 1850 census. By 1856, he partnered in the engraving and (lithographic?) firm Jacobus & Schell at 40 South Third Street. He also worked as a broker and agent for the business that remained intermittently active until ca. 1869., Schell was married to Harriett (b. ca. 1824) with whom he had several children. In 1850, Schell was head of a household that included his family and mother Margaret (1781-1861) in Southwark Ward 3. In 1860, the Schell household, including seven children, resided at 742 South Third Street in Ward 4. Listings in local city directories for Schell ceased in 1872 and Schell's wife headed the household at 827 Tasker Street in the 1880 census.

: Scherbonnier, Henry; See Charbonnier, Henry.

: Scheuerer, August; August Scheuerer, born ca. 1823 in Baden, Germany, worked as a lithographer in New York and Philadelphia in the 1870s and 1880s. Scheuerer was married to German-born Karoline (b. ca. 1825) and had two sons August (b. ca. 1860, New York) and Louis (b. ca. 1865, New York. In 1870 he and his family resided in Brooklyn before they relocated to Philadelphia by 1880. In Philadelphia he headed a household at 1724 Germantown Avenue (Ward 19) that included his wife and two sons who worked in a "printing office."

: Schilcock, Charles; Charles Schilcock, born ca. 1830 in Ohio, worked as a lithographer in Philadelphia in 1860. He resided at 537 Spruce Street (Ward 5) in a boarding house operated by Elizabeth H. Remson with fellow lithographers Adolph Laborn and Nicholas Ships.

: Schmitz, M. (Matthew); Matthew Schmitz, born in Prussia ca. 1805, worked as a lithographic artist, predominately of sheet music covers printed by Duval, in Philadelphia from the 1840s to 1860s. Schmitz immigrated to the United States before 1844; the year he declared his intent to naturalize in Philadelphia. By 1845, Schmitz began to be listed in local city directories as an "artist" at 142 (i.e., 400 block) Chestnut Street. In 1849, he delineated a lithographic portrait of Madame Anna Bishop published by Philadelphia music publisher A. Fiot. In the 1850s and 1860s, he designed a ca. 1850 "Humane Society of Philadelphia" certificate printed by Thomas Sinclair and a ca. 1865 sheet music cover titled "Glenwood Polka..." showing the Pennsylvania Female College. During the mid 19th-century, Schmitz was also a "teacher of drawing" and a "professor of music" according to city directory entries and the censuses (1860, 1870, 1880)., Schmitz was married to Henrietta (b. ca. 1827) with whom he had at least four children. In 1860, he resided in Center City (Ward 10) and owned personal estate worth $500. In 1870, he resided in West Philadelphia (Ward 24) and owned personal estate worth $600. In 1880, "music teacher" Schmitz continued to reside in West Philadelphia and at 3104 Baring Street with his wife and three children aged 18-25 years.

: Schmitz, Tillmann; Tilimann Schmitz, born ca. 1840, worked as a lithographer in Philadelphia during the later 19th century. By 1885 Schmitz worked as a printer in Philadelphia and resided at 916 Morgan Street. By 1893, he relocated his residence to 876 North Twenty-seventh Street, where a Wiliam Schmitz, instrument maker, also resided. Schmitz died on January 13, 1898 with his funeral at the residence of his son Joseph at 1017 South Park Avenue. He was interred at Chelten Hill Cemetery.

: Schnabel & Finkeldey; Schnabel & Finkeldey, the partnership between German-born Philadelphia lithographers Edward Schnabel and John F. Finkeldey was active 1857-1863. Originally established as Schnabel, Finkeldey & Demme, the firm formed from the remaining members of M. H. Traubel & Co. and William Demme in 1857 at 218, formerly 46 1/2, Walnut Street. Although the firm lasted only about a year, it issued a noted small series of commercial views of Chestnut Street titled "Panorama of Philadelphia" as well as sheet music covers., Following the departure of Demme, Schnabel and Finkeldey remained as partners and issued portraits, advertisements, certificates, and commemorative and view prints, occasionally with German text. Interesting works include the allegorical commemorative lithograph "Speech of Robert Emmet, Esq." and a certificate in German "Freiheit Edelmuth & Bruderliebe, Unabhangiger Orden der Rothmaenner" (ca. 1863) for the Improved Order of Redmen in the Harry T. Peters Collection, Smithsonian Institution., Unfortunately, the Schnable and Finkeldey partnership proved burdensome for Finkeldey and at the end of February 1863, he organized the firm's creditors to sue the business after near five years of poor management as a result of his alcoholic partner spending his days at the tavern of Bergner & Engel, who commissioned an advertisement from the firm, possibly for debt owed, in 1859. On March 8, 1863, paper dealer Margarge & Co. bought the establishment at a sheriff's sale and Finkeldey continued the business as a sole proprietor.

: Schnabel, Edward; Edward Schnabel, a Philadelphia lithographic artist specializing in portraiture, born ca. 1820 in Saxon, Germany, was active in Philadelphia between 1850 and 1863. Schnabel immigrated to Philadelphia with fellow lithographer Carl Harnisch in 1849. Although erroneously cited by Groce & Wallace and Falk as a partner in Traubel, Schnabel and Finkeldey in 1850, Schnabel was listed as a lithographer in residence as a boarder in the South Ward with fellow lithographer Maurice Traubel in the 1850 census. According to the reminiscences of Moras, his colleague in the trade, he worked for P. S. Duval at the time., In 1853, a partnership was formed with Traubel called M. H. Traubel & Co. or the Lithographic Institute (formerly Frederick Kuhl's shop at 46 ½ Walnut Street). The firm comprised of Schnabel, John Frederick Finkeldey, Morris H. Traubel, and Theodore Leonhardt was active until 1857, when it was reestablished as Schnabel, Finkeldey & Demme. William Demme withdrew from the partnership the same year and Schnabel continued in partnership with Finkeldey as Schnabel & Finkeldey until 1863. That year, Finkeldey orchestrated a sheriff's sale of the establishment as a result of Schnabel's drinking and poor management. After 1863, Schnabel having apparently left the lithography trade, worked as an artist and painter as listed in the 1870 and 1880 censuses, although he was listed with the profession of "tavern" in the 1864 city directory, Schnabel married Emma (b. ca. 1825) by 1860 with whom he had two children, including son Otto, who entered the lithography and photography trade by 1880. During his lithographic career in Philadelphia, Schnabel lived in Center City in the South Ward, 246 South Eighth Street (1854-1856) and 739 Wood Street, above Vine Street (1857-ca. 1863). By 1870, he relocated the family residence to North Philadelphia where they lived at 1526 Lawrence Street with Schabel's personal estate valued at $700 (ca. $12,000, 2008 value). By 1880, the Schnable family resided at 1222 Stiles Street., Schnabel died in Philadelphia on August 4, 1883 and given his description in his obituary as "extremely elegant, truthful and proficient," he had possibly turned a new leaf following his partnership with Finkeldey.

: Schrank, Frederick; Frederick Schrank, born May 1836 in Germany, worked as a lithographer in Philadelphia ca. 1859-1900. Schrank immigrated to the United States in 1856 and by 1859 worked as a lithographer in Philadelphia and resided at 7 Central Place. He relocated residences to 335 Juliana Street by 1868. Schrank continued in the trade until his death and was listed in the 1900 city directory as a lithographer., Schrank was married to Sophia (b. ca. 1841) with whom he had four children and lived at 808 Nectarine Street in 1880. According to the 1900 census, Schrank was widowed and worked as a compositor with a residence at 815 Buttonwood Street. Schrank died on February 26, 1901 and was interred at Germantown Cemetery.

: Schussele, Christian; Christian Shussele, born ca. 1824 in Alsace, France was a premier chromolithographic artist, active in the Philadelphia trade ca. 1851-early 1860s. Schussele, trained as an artist and painter in Strasbourg and Paris, and worked as a chromolithographer for premier French lithographer Godefroy Engelmann before he immigrated to New York aboard the "Jupiter" from Le Havre, France in February 1848. By 1849, Schussele entered the Philadelphia trade and began his long association with Duval. Duval used the artist's skills to expand his business into chromolithography and Schussele delineated some of his earliest chromolithographs, including "P.S. Duval's Colour Printing & Lithographic Establishment [Artisan Building]" (1849) and his plate "Chromo Lithography" in a 1849 U. S. Patent Office Report. Schussele's work for P. S. Duval in the 1850s and early 1860s included certificates, book illustrations, and allegorical prints., Although active in chromolithography during the 1860s, Schussele focused predominately on painting historical scenes, landscapes, and portraits as well as watercolors. Works include portraits of George Washington and General McClellan, "Men of Progress," the "Woman's Mission," "The Iron Worker," and "Evangeline"; many engraved by his good friend and prominent engraver John Sartain. Schussele was also a member of the Philadelphia Sketch Club and Artists' Fund Society as well as exhibited work at the Pennsylvania Academy of the Fine Arts. In 1851, he earned a "first premium" for his fine art piece, "Lager Beer Saloon," at the Franklin Institute of American Manufactures., Schussele's professional success in the 1860s continued despite suffering palsy of the hand since around 1863. In 1868, he taught at the School of Design for Women (i.e., Moore College of Art) and accepted the position of Professor of Drawing and Painting at the Pennsylvania Academy of the Fine Arts. Schussele remained in the position, including the mentoring of Thomas Eakins, until his death in New Jersey on August 21, 1879., Schussele resided with fellow French artist and lithographer Caspar Muringer shortly after arriving in Philadelphia. His studio, first at 183 North Eighth Street (1850s), then at 253 North Eighth Street (ca. 1860-1865) was also tenanted by Muringer. Schussele married Muringer's daughter Cecilia (ca. 1838-1916) and the couple lived with the Muringers through the 1860s, along with their daughters Eva (b. ca. 1856) and Mary (b. ca. 1862). Presumably after Caspar Muringer's death ca. 1865, the Schusseles and Muringers traveled to France to seek a cure for the palsy that afflicted Schussele's right hand. They returned on the Ville de Paris ship en-route to New York from Le Havre, France in May 1868 and by 1870 the Muringer and Schussele families resided again in Philadelphia, north of Center City (Ward 14).

: Scott, Thomas M.; Thomas M. Scott was a Philadelphia artist whose cityscape views were printed as lithographs by P.S. Duval in the early 1850s. Known works after Scott, often lithographed by Charles Conrad Kuchel, include "Northern Liberties and Spring Garden Works" (1852); "Tamany Fish House, on the Pea Shore, R. Delaware" (ca. 1852); and "Commissioners Hall, Northern Liberties, Phila." (1853) described in the July 1, 1853 edition of the "Public Ledger" as a "very fine and correct winter scene" by Capt. Thomas M. Scott., Scott may be the Thomas Scott listed in the 1860 Philadelphia city directory as an engraver at Allegheny House (814 Market Street).

: Seitz, Louis; Louis Seitz, born ca. 1824 in Hanover, Germany, worked as a lithographer in Philadelphia in 1860., According to the 1860 census, Seitz was married to Paulina (b. ca. 1821) and had five children fourteen years of age and under born in Pennsylvania. He owned real estate valued at $1200 and personal estate valued at $500.

: Sera, J.; J. Sera, an Italian-born Charleston artist, served as the artist for lithographs printed by Lehman & Duval and P. S. Duval in Holbrook's "North American Herpetology" (Philadelphia: J. Dobson, 1836-1840). Sera died in 1836.

: Sherwin, John H.; John H. Sherwin, born February 1834 in Bellows Falls, Vt., worked as a lithographic artist in Philadelphia at the firm of L. N. Rosenthal ca. 1854-ca. 1861. By 1850, Sherwin started in the printing trades as a printer in Windham, Vt. at the newspaper "Bellows Falls Gazette." First listed as an "artist" at the address of Rosenthal (Fifth and Chestnut Streets) in Philadelphia city directories in 1857, Sherwin, according to Peters perviously trained in lithography under Morawski in New York. In New York, he also created lithographs printed by Sarony, including the sheet music cover for "The Hippopotamus Polka." While with Rosenthal, Sherwin designed book illustrations and cityscape views such as the intricately composed commemorative print "Second Reformed Dutch Church" (1857)., During the early 1860s, Sherwin departed Philadelphia; his last city directory listing was in 1861 with an address at 33 North Twelfth Street. He then worked as an artist in New York and later Boston as noted by Peters. By 1880, he resided as an artist in Springfield, Ma. where he married Laura Sadler (1829-1899), the widow of William Sadler, in 1884. Following the death of his wife in 1899, he relocated to New Haven, Ct. and the household of his brother-in-law [Merrill] Wheelock Chapin (b. 1826) as recorded in the 1900 census.

: Ships, Nicholas; Nicholas Ships, born ca. 1830 in Pennsylvania, worked as a lithographer in Philadelphia in 1860. He resided at 537 Spruce Street (Ward 5) in a boarding house operated by Elizabeth H. Remson with fellow lithographers Adolph Laborn and Charles Schilcock.

: Shober, Charles; Charles Shober, the premier Chicago lithographer born in Germany in February 1831, worked as a lithographer in Philadelphia 1856-1857. Shober immigrated to the United States in 1854 and in 1855 delineated a lithographic plate for "The Horticulturist (N.Y.)." By 1856 Shober was listed in Philadelphia city directories as a lithographer at 17 Minor Street where by map lithographers, including George Worley and Benjamin Mathias also worked. In 1857 Shober partnered with Charles Reen in Reen & Shober at 5 South Sixth Street. By 1859 the partnership relocated to Chicago, where that year Shober established his own business and published the map "City of Ypsilanti" (1859). Shober operated his own firm and in partnerships (Charles Shober & Co.) until the great fire of 1871 when he took over the management of the Chicago Lithographing Company (Louis Kurtz and Edward Carqueville). In 1876 Kurtz left the firm that issued "The International Exposition 1876 at Philadelphia, PA. U.S.A. View from George's Hill" (1876) and Shober & Carqueville was established. The partners printed sheet music, posters, maps, and trade cards. Shober left the company in the early 1880s, possibly after a fire at the firm according to Groce & Wallace. He later became president of the Chicago Bank Note Company., Shober married Annie (b. 1844) in 1861 and with her had several children born in Chicago starting in 1865. Shober remained listed in censuses as of 1900.

: Shoemaker, Andrew; Andrew Shoemaker, born ca. 1828 in Bavaria, Germany, worked as a lithographer in Philadelphia for P. S. Duval ca. 1856-1862. He immigrated to the United States and Pennsylvania by ca. 1854. He resided in Philadelphia and Camden, New Jersey before moving to 816 Cherry Street in Philadelphia (Ward 10) by 1860 with his wife Emma (b. ca. 1829) and three children Emily (b. ca. 1851, Germany), Adolph (b. ca. 1854, Pennsylvania) and Emma (b. ca. 1859, Pennsylvania).

: Shoemaker, Edward A.; Edward A. Shoemaker, born in 1848 in Pennsylvania to German immigrants, was a lithographer and printer active in Philadelphia from 1868 until his death in 1893. Son of Philadelphia lithographer and engraver John G. Shoemaker who worked for P. S. Duval in the late 1850s, he may also have worked for Duval. Unfortunately, city directories never listed Shoemaker's business address although he was consistently identified as a lithographer or printer until 1890., Shoemaker resided in his father's household with his mother Wilhelmina (b. ca. 1821), her sister, and his two siblings, photographer William C. (b. ca. 1844) and Sophia (b. ca. 1845), until about 1872. He moved to 1531 North Ninth Street with his wife Emma (b. ca. 1853) and had three children John (b. 1875), Emma (b. 1878), and William (b. 1879) by 1880. The family moved twice within the city in the late 1880s, and finally moved out of the city to Lansdale by 1893, the year Shoemaker passed away at the age of 45.

: Shoemaker, John G.; John G. Shoemaker, born ca. 1820 in Wurttemberg, Germany, was a lithographer and engraver active in Philadelphia between 1845 and 1885. Referred to as Gottlieb/Gotlieb Shoemaker from 1845-1854, his name was anglicized to John G. in the mid-1850s, around the same time he was listed as a lithographer and stone cutter for P. S. Duval's 8 South Fifth Street establishment. After 1859, Shoemaker's work address was absent from city directories, but he was consistently identified as a lithographer until 1875, after which time his occupation changed to engraver., According to the 1850 census, Shoemaker resided in Northern Liberties (Ward 7) with his wife Wilhelmina (b. ca. 1821), her sister, and their three children photographer William C. (b. ca. 1844), Sophia (b. ca. 1845) and lithographer Edward A. (1848-1893). By 1860, they lived in Kensington (Ward 16) at 935 North Fourth Street, where Shoemaker remained, most likely until his death around 1886.

: Shubert, George D.; George D. Shubert, born of Irish descent in Philadelphia on May 5, 1842 and active in the local lithographic trade ca. 1860-ca. 1920, produced one of the only two known extant diaries of 19th-century Philadelphia lithographers. Son of wheelwright Benjamin (b. ca. 1820) and Wilamina (b. ca. 1825 of German descent), Shubert was active in the lithographic trade by 1860 while he resided with his parents and several siblings at 312 North Twentieth Street (Ward 15). In 1862 he appears to have briefly enlisted in Company C, Pennsylvania National Guard Infantry Regiment, and at the end of 1865 worked at the establishment of Jacob Haehnlen., In early 1866, he transferred to the employ of George Breuker (i.e., Breuker & Kessler) and began his nine-month diary held at the Special Collections of Temple University Library. During the year, he was elected secretary of the Lithographic Printers Union and was a member of the Catholic reading society, Philopatrian Institute, the A. B. Kendrick Society, and the Washington Hose Company. He also often visited the Diligent Hose Company Library, the Academy of Music, and the Pennsylvania Academy of the Fine Arts as well as was learning the violin. Shubert's work day usually began between 7 and 9 AM and could last until 7 PM, with occasional time away from the shop for personal and business errands, including having his photograph taken and work for the union. He also wrote in one entry that he left the shop at 11 AM one June day as it was "being too warm to work." As of 1920, Shubert remained in the trade as a lithographer in a department store and by 1926 was no longer listed in city directories., Between 1870 and 1880, Shubert continued to live in North Philadelphia with his family, including his brothers Robert (b. ca. 1845), a printer and Charles G. (b. ca. 1848), agent of prints, at 230 North Juniper Street and later 1323 Race Street. By 1886, Shubert relocated back to the 200 block of Juniper Street where he remained until at least 1890. In 1900, he married Emilie (b. ca. 1850) and resided at the household, including a servant, of his sister-in-law, Mary Lehr at 1812 North Eighteenth Street. Within the decade, he appears to have married Emilie's sister Mary (b. ca. 1845) as a woman with this name is listed as his wife in the 1910 census. The couple resided in West Philadelphia at 1501 Belmont Avenue (Ward 24) with a lodger. According to the 1920 census, Shubert and his wife continued to live in West Philadelphia. The household at 1501 North Forty Fourth Street included his widowed "daughter" (likely stepdaughter) Mable Mish (b. ca. 1875) and "single" boarder George Mish.

: Sinclair, Thomas; Thomas Sinclair, born in 1807 in the Orkney Islands (Northern Scotland), was one of the premier Philadelphia lithographers of the 19th-century, particularly in the field of chromolithography. Trained in lithography in Edinburgh, Sinclair immigrated to the United States ca. 1830. He worked in New York and Philadelphia, including drawing a dance lithograph for Philadelphia lithographers Kennedy and Lucas in 1833. In Philadelphia, he and his wife Magdalena (b. ca. 1808) had nine of their ten children as noted in the 1850 census. Firmly settled in Philadelphia in 1839, he worked at the lithographic shop of John Collins (79 South Third Street) before assuming the establishment in 1840. A practical lithographer throughout his career, Sinclair produced all genres of lithographs including maps, advertisements, city and landscape views, sheet music covers, portraiture, political cartoons, certificates, and book illustrations. During the 1840s, fashion advertisements for S. A. and A. F. Ward proved a steady commission., By the end of the 1840s, he started to experiment in color printing along with his premier rivals P. S. Duval and Wagner & McGuigan and won first and second premiums, respectively for this work, at the 1848 and 1849 Franklin Institute Exhibitions of American Manufactures. During the early 1850s, his professional success continued with a relocation of his shop to 101, i.e., 311 Chestnut Street (Public Ledger Building) in 1850; another first premium for chromolithography at the Franklin Institute Exhibition of American Manufactures in 1851; and an 1852 "Public Ledger" article describing a Masonic lodge certificate printed by him as bringing the "Lithographic Art to great perfection in this country." Shortly thereafter, his son William (b. ca. 1828) joined the firm and the establishment operated as Thomas Sinclair & Co. 1854-1859. During this time, Alphonse Bigot delineated their noted chromolithographed advertisement depicting the inventor of lithography, Alois Senefelder, in his study., In addition to chromolithography, Sinclair became particularly well-regarded for his illustrative work and received several commissions for illustrations for government, scientific and medical publications throughout the mid 19th century. He also was one of the more prolific Philadelphia lithographers of sheet music covers, including several depicting the built environment of Philadelphia such as "The Continental Schottisch" (1860) as well as worked with several respected lithographers, including Bigot, Francis Schell, and John T. French., During the 1860s, Sinclair continued as one of the premier Philadelphia lithographic firms. He chromolithographed three prominent views after James Queen of the Union Volunteer Refreshment Saloon of Philadelphia (1861-1863) as well as the impressive "American Autumn, Starucca Valley" delineated by William Dreser after James Cropsey (1865). His success during the decade also allowed him to employ a servant in 1860 and 1870 (his personal estate valued at $10,000, $20,000 respectively); be taxed for income, a watch, and piano (1863-1866); make donations to the Sanitary Fair in 1864; and relocate to 506-508 North Street in 1868. However, by the end of the 1860s he also faced a legal dispute with artist Edward Sintzenich over the copyright of the 1865 chromolithograph "Lake George" and a judgment against him for near $20,000 owed to Charles Magarge & Co., Consequently, in 1870, Sinclair admitted his son John C. (b. ca. 1840-1911), trained as a lawyer and known for his business acumen, into the partnership and the firm regained a favorable credit rating throughout the decade despite a fire causing $10,000 worth of property damage the same year. In 1872, the firm experimented with photo zincography and around 1873, the renamed T. Sinclair & Son announced the expansion of the facility of their business "Established 1840" through their trade card that promoted "Our house is one of the oldest in the country and is now the largest and most complete exclusively lithographic concern in the state." By 1877, credit reports noted the firm as doing a "fair trade" and by 1880 having "about all the orders they can fill" as well as that they owned their stones (including one purported at $20,000), presses, and steam engine with an estimated value of $30,000. By 1881, the year Sinclair died, the firm "stood well" and "enjoy[ed] the confidence of the trade.", Sinclair died on September 17, 1881 with an estate worth $30,000 and his business left to be managed by his son John C. By 1884, the estimated worth of the firm had increased to $100,000 with an excellent credit rating. In 1888, the firm was sold to Geo. S. Harris & Sons. Evidence suggests John C. relocated to Idaho to operate a mine and later practiced law., Although Sinclair resided in Center City (27 Blackberry Alley, 319 South Fifth Street) with his family during the 1840s, Southwark served as their neighborhood from 1850 through the 1870s. From about 1853 to 1874, the family lived at 311 and 313 Carpenter Street, and then 920 Clinton Street until ca. 1880. During Sinclair's final years, he resided at 1834 Green Street and 617 North Fifteenth Street by the time of his death., Sinclair was also a member of the St. Andrew's Society from 1840, including serving as treasurer in the early 1860s. He also served on the committee to celebrate the Senefelder Centenary in 1871 that was cancelled when the funds were redirected to the victims of the Great Fire of Chicago.

: Sinclair, William; William Sinclair, the oldest son of premier Philadelphia lithographer Thomas Sinclair , was born ca. 1827 in Scotland, and worked as a lithographer in the city during the 1850s. Sinclair relocated with his parents to New York City as a young child ca. 1830 and to Philadelphia by 1839. Sinclair became a partner in his father's well-established firm in 1854 when the shop tenanted 101 Chestnut Street (1850-1857). The partnership, which produced all genres of lithographs, including maps, advertisements, city and landscape views, sheet music covers, portraiture, political cartoons, certificates, and book illustrations, relocated to 311 Chestnut Street in 1858. Sinclair died two years later at the age of 33 on July 16, 1860., William resided in his father's household in the Southwark neighborhood in 1850, but had married the Delaware-born Anna (b. ca. 1824) and resided at 1443 South Fifth Street in South Philadelphia (Ward 1) by 1860.

: Slack, William J.; William J. Slack, born ca. 1844 in the Frankford section of Philadelphia, worked as a lithographer and printer in the city 1861-1869. Slack, son of Abraham Slack (b. ca. 1811), originally a tailor in Frankford, who by 1857 operated an "engraving, die-sinking and embossed printing, envelope and seal press manufactory" at 37 South Strawberry Street, probably entered the printing trade through his father., Slack was listed sporadically in Philadelphia city directories. In 1867 and 1869, he was listed as a printer who resided at 511 Enterprise (i.e., Greenwich) Street in South Philadelphia with his engraver brother Robert M. (b. ca. 1842). After 1869, Slack remained unlisted in city directories while his father was noted as a salesman, and his brother as an engraver (Byram & Slack, 413 Chestnut Street, with Joseph H. Byram). Slack was also possibly the William J. Slack who fought with the Pennsylvania Cavalry during the Civil War 1863-1865.

: Smith & Bourquin; See Bourquin, Frederick and Smith, Robert Pearsall.

: Smith. B. F. (Benjamin Franklin) Jr.; Benjamin Franklin Smith, Jr., born on August 5, 1830 in South Freedom, Maine, was a noted lithographic artist of bird's eye views, including Philadelphia, in the mid 19th century. Partner in the firm the Smith Brothers, with brothers Francis (1828-1903), George Warren (1825-1922), and David Clifford (1827-1911). Smith, like his brothers, first canvassed for subscriptions of views by New York lithographer Edwin Whitefield, before he and his siblings started their own New York firm in 1849. Between 1850 and 1855, the firm issued nearly 30 views, including two drawn on stone by Benjamin F. showing Philadelphia; "Philadelphia from Camden - 1850" and "Philadelphia from Girard College - 1850." The firm disbanded in 1856 although B. F. Smith issued a lithographic view of Elmira, N.Y. as B. F. Smith, Jr. & Co. (Albany, N.Y.) in 1862., Following his work in the lithographic trade, Smith and his brother Francis entered the Colorado mining business in the late 1850s and later invested in Omaha stockyards. Smith returned to Maine a wealthy man in the 1880s. At his return, he created the Rockport estate "Warrenton Park" and the B. F. Smith Trust, a precedent setting trust in its excellent management of the family funds. He was reputed the richest man in the state by the time of his death in 1927., Smith was married to Henrietta (b. 1840) in 1862 and the couple had two children (son Clifford and daughter Cordelia) living in 1900. The couple resided in "Warrenton Park" with several servants according to the census for that year. Smith's brother Francis also resided at the estate.

: Smith, David; David Smith, born ca. 1820 in Scotland, worked as lithographer in Philadelphia in 1858. He resided with the Ryan family in Ward 4 at 409 South Street where he also worked in the dry goods business in 1860. Smith returned to the printing trade in the 1860s and worked as a stereotyper and printer at the end of the decade.

: Smith, John; John Smith, publisher, gilder, painter, and looking glass and frame manufacturer in Philadelphia ca. 1860-1870, primarily published parlor lithographs, including Augustus Tholey's "American Country Scene in Summer" (1865). He also published historical prints by Anton Hohenstein, including "Baptism of Pocahontas 1613" (1868) and "Franklin's Reception at the Court of France" (1869). Smith's earliest known business address was on the second floor of 804 Market Street, which was also tenanted by Biester & Brothers, frames and looking glass depot, and chromolithographer Joseph Hoover. In 1868 Smith relocated to 710 Sansom Street. He also operated from 756 South Fourth Street in the mid-1860s., In 1860 and 1861, Smith resided in Northern Liberties (Ward 6) at 851 North Third Street, but by the end of the decade he had removed to 240 South Eighth Street, closer to his looking glass establishments.

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