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

: Palmatary, James T.; James T. Palmatary was a mid-19th century lithographer of bird's eye views for whom Herline & Hensel printed his multi-sheet 1857 view of Chicago., Palmatary may be the James T. Palmatary listed in the 1880 census who was born ca. 1800 in England, resided in Saint Joseph, Buchanan, Missouri, and worked as a clark in a registrar office.

: Partridge, D. Anson (David Anson); David Anson Partridge, born in April 1847, in Randolph, Vermont, was a partner in the Philadelphia lithographic firm Packard, Butler & Partridge. Son of David (b. ca. 1792), a shoemaker and Elsie (b. ca. 1828), he relocated to Philadelphia by 1870, and worked as a "machinist," living with his wife Charlotte (b. ca. 1850) at 517 Pierce Street. During the 1870's Partridge worked as a farmer and as a lithographer (as of 1876) and by the 1880 census was listed as a photo-lithographer., In 1883 he joined the lithographic firm Packard & Butler renamed Packard, Butler & Partridge, as well as served as treasurer of the Philadelphia Photographic Society. Partridge also managed the baseball club the Wynnewoods during the 1880s. Following the fire of 1886 that claimed the building tenanted by Packard, Butler & Partridge (715 Arch Street), Packard and Partridge continued in business with each other until 1893. Partridge remained in the fields of lithography and photography through the 1890s and early 1900s. He died on November 30, 1908 while visiting his hometown of Randolph, Vermont.

: Patton, William; William Patton, born September 1823 in Pennsylvania, worked as a lithographer in Philadelphia ca. 1848-ca. 1897. He served as treasurer of the Lithographic Printers Union in 1862 and was a member of the nativist organization Order of the United American Mechanics for which he lithographed a membership certificate ca. 1870. He also copyrighted an 1848 lithographic certificate for the nativist organization Order of the United Daughters of America, worked at the establishment of Thomas Wagner (34 Hudson Street) in 1859, and was a member of the Independent Order of Odd Fellows., Patton resided in North Philadelphia, predominately in Northern Liberties during his career. In 1850 he was the head of his own household in Northern Liberties Ward 1 and was married to Hannah (b. ca. 1823) with whom he had a son, and later, at least five children. By 1859 the family resided at 334 Coates Street where they would remain until the 1870s. In 1880 the Patton family lived at 973 North Sixth Street and in the 1890s at 1018 Randolph Street. By 1900 Patton was widowed and lived with his daughter Esther (b. 1851) and her husband George G. Stark's family as a "gentleman" at 1422 North Sixth Street. Patton died on March 1, 1904, his funeral services held at Stark's residence at 415 Hobart Street (West Philadelphia). He was interred at the American Mechanics Cemetery.

: Pendleton, John B.; John B. Pendleton, premier Boston lithographer, born in 1798 in New York (according to census records), was a partner in the early Philadelphia lithographic firm Pendleton, Kearny & Childs 1828-1829. Before entering the trade in Philadelphia, Pendelton trained in Paris and returned to Boston in 1825 with the necessary supplies and equipment. In 1826 he partnered with his brother William in the first lithographic establishment in Boston. In 1828 he left for Philadelphia where he partnered briefly with Francis Kearny and C. G. Childs before he relocated to New York and established his own lithographic firm in February 1829. Pendleton continued in the trade in New York printing all genres of lithographs into the 1830s as well as worked as a carpenter and proprietor of a planing mill into the early 1850s., Pendleton was married to Hester (ca. 1810-1883) in 1846 following the death of his first wife in 1842. He resided in New York from 1829 until his death on March 10, 1866. In 1850, he headed a New York household of over 20 persons, including Hester and four Pendletons aged 39-27 years born in Massachusetts. In 1860, he headed a household that included his wife and five servants.

: Pendleton, Kearny & Childs; Pendleton, Kearny & Childs, the partnership between Boston lithographer John B. Pendleton and Philadelphia engravers Francis Kearny and Cephas G. Childs active 1829-1830, was one of the early Philadelphia lithographic firms. The second successful commercial firm in Philadelphia after Kennedy & Lucas, the firm at 185 (i.e., 500 block) Chestnut Street printed and published lithographs delineated by respected local artists, including Albert Newsam, Rembrandt Peale, Hugh Bridport, E. W. Clay, and Moses Swett. The brief partnership ended when Pendleton relocated to New York. Kearny retired to his hometown of Perth Amboy, New Jersey not long after in 1833. Childs continued the business with portrait painter Henry Inman.

: Percell, John; John Percell worked as a lithographer at the establishment of P. S. Duval (5 Ranstead Place) in 1855.

: Petz, Chas; Charles Petz worked as a lithographer in Philadelphia ca. 1857-ca. 1859. Employers included P. S. Duval (8 and 22 South Fifth Street) and L. N. Rosenthal (36 South Fifth Street).

: Pfeiffer, Jacob; Jacob Pfeiffer, born ca. 1816 in France, worked as a lithographer in Philadelphia in 1850. He resided in a boarding house in the Pine Ward with fellow lithographer, German-born Thomas Muehler.

: Pfeil, Herman; Herman C. Pfeil, born August 1841 in Poland, immigrated to the United States in 1851, and worked intermittently as a lithographer in Philadelphia from ca. 1860 to 1881. Primarily a lithographer of decalcomania, i.e., decals, and showcards, he began his career with Thomas Sinclair at 311 Chestnut Street. By 1866 he had partnered with Jacob Weiss in Pfeil & Weiss, manufacturers of decals and labels, but Weiss's untimely death ended their business within the year. Pfeil subsequently partnered with August L. Weise and Louis Haugg to operate A. L. Weise & Co. at 29 South Fourth Street until 1872., Originally residing with his mother and siblings at 623 North Fourth Street in 1860, Pfeil then married a Pennsylvania-born dry goods dealer Mary (b. ca. 1845) and by 1866 shared a residence with fellow lithographer and future business partner Julius Golz at 614 Callowhill Street (Ward 13). Pfeil relocated to Camden, New Jersey in 1873, where Camden directories list him as a lithographer. In 1877 and 1878 he patented items related to lithography and printing, including an improvement in the manufacture of tablets, signs, etc., and an improvement to the printer's blanket from the use of manila paper and a sheet of oil cloth instead of rubber, respectively., Employed by Wells & Hope Co., another decalcomania and showcard firm, at 918 Vine Street in Philadelphia in 1881, a year later he established Pfeil & Golz, a New York City firm that specialized in showcards. By the end of the 1880s, Pfeil & Golz moved their operations to Camden, New Jersey and altered the name to The Pfeil & Golz Company. The Pfeil family, including five children, resided next to the Golz family on Elm Street in Camden until at least 1910.

: Pharazyn, Alfred; Alfred Pharazyn, born ca. 1833 in England, operated a print coloring establishment, particularly lithographs, in Philadelphia from the 1850s to 1870s. By 1850 Pharazyn and his family had relocated to Philadelphia where he worked as a clerk and resided in the Pine Ward with his mother Maria (b. ca. 1805), a colorist, and his siblings, except for his brother, artist and colorist Henry (1822-1903). Within six years, Pharazyn was listed in credit reports with the jewelry, book, and coloring establishment he had taken over for his father at 103, i.e., 229, South Street. He employed 20-30 female colorists, entered a partnership to establish a dry goods store in Delaware, as well as issued three variants, with lithographer John L. Magee, of the sensational news event lithograph "Terrible Conflagration and Destruction of the Steamboat 'New Jersey,' on the Delaware River.", Despite a judgment in favor of payment of $875 to lithographer James McGuigan in 1861, Pharazyn continued his coloring and dry goods establishment and earned enough income during the 1860s to be taxed by the I.R.S. By 1867 he also expanded his South Street business to include housewares; owned several properties worth about $60, 000; had endured a robbery; and owned his store valued at $10,000. By the early 1870s, Pharazyn remained in the coloring trade, with a less than desirable credit rating due to his slow payments first cited in 1871. Pharazyn remained listed in city directories until 1878, with his last entry as a bookseller at 121 Dock Street., Pharazyn was married to Mary (nee McDevitt) who "principally attended" the dry goods business and with whom he had several children. Pharazyn lived in Center City throughout his career, with residences at 63 Prune Street (1853), 1700 block of Addison Street (1855), 530 Barron Street (1874), and 218 Spruce Street (1878). Pharazyn died before 1885 when his wife was listed as a widow at 221 McClellan. Given his lack of entries in city directories after 1878, he probably died around this time.

: Pharazyn, Henry; Henry Pharazyn, born ca. 1822 in England, brother of colorist and lithograph publisher Alfred Pharazyn, worked as an artist, jeweler, frame dealer, colorist, and lithograph publisher in Philadelphia during the mid nineteenth century. Known lithographs issued by Pharazyn include "Trotting Cracks of Philadelphia Returning from the Race at Point Breeze Park,..." (1870) published at his frame establishment at 1725 Lombard Street., During the 1840s city directories listed Pharazyn as a "military artist" at 13 Dugan Street (Center City), while in the 1850s he was listed as a jeweler at 199 1/2 (i.e., 500 block) South Street. The 1860 and 1870 censuses record him as an artist (resident of Ward 3) and colorist (resident of Ward 7), respectively, whose personal estate had increased from $100 to $1000. According to the 1870 city directory, he also worked at a saloon. During the 1870s, he was employed as a carpet, and later herbs dealer (529 South Seventh Street), the latter which he continued as an occupation into the 1880s. Pharazyn died a pauper and known as an eccentric in December 1902; his body found in January 1903, days after his death in his cellar residence at 303 South Seventh Street., Pharazyn was married to Ann (b. ca. 1825) with whom he had a son Alfred (b. ca. 1852), reported as mentally and physically challenged. Ann, described as deaf in the 1870 census, died in the 1880s and son Alfred resided in Pennsylvania Hospital at the time of his father's death.

: Pike, Joseph; Joseph Pike, born ca. 1837 in Pennsylvania, worked as a lithographer in Philadelphia in 1860. He resided with his Irish-born father, merchant David Pike, and family northwest of Center City (Ward 15).

: Pilliner, Frederick J.; Frederick J. Pilliner, born ca. 1827 in Cuba, was an engraver and lithographer active in Philadelphia ca. 1850-1861. First listed as a resident of Philadelphia at 38 Walnut Street (Lower Delaware Ward) in the 1850 census, Pilliner advertised his "Designing and Engraving on Wood" business the same year at 46 1/2 Walnut Street. As a wood engraver, he promoted his skills in the design of newspaper heads, views, and labels. In 1852 he exhibited his wood engravings at the Exhibition of American Manufacturers at the Franklin Institute. Thereafter, he relocated to Boston where he entered into the short-lived partnership Schenck & Pilliner with engraver John Schenck from 1853 to 1854., By 1855, Pilliner returned to Philadelphia and entered the lithographic trade with partner John Kusterer at his former Walnut Street address. The partnership was again short-lived, and by January 1856, Pilliner & Kusterer had been dissolved with each lithographer advertising not to to trust the other on their account. Pilliner continued in the printing trade following the split and from 1858 to 1861, he relocated his establishment every year between 37 1/2 South Third Street (1858); N.E. Seventh and Chestnut streets (1859); and 147 South Fourth Street (1860-1) producing advertisements, vignette illustrations, and frontispieces for 1859-1860 editions of "Godey's Lady's Book." Shortly before his death on August 8, 1861, Pilliner also designed plates for "Sloans Homestead Architecture" (1861)., Pilliner died "after a short illness" with his residence at 209 South Sixth Street and his engraving and lithographic establishment still at Fourth Street. A member of the Lafayette Lodge, Ancient York Masons, Pilliner was buried at Monument Cemetery. Within a few weeks on August 21, 1861, possibly his father, and lithographer George Pilliner (b. ca. 1793), the administrator of his estate auctioned all of his stock and fixtures through the auction house of James A. Freeman.

: Pillner, George; George Pillner was a Philadelphia lithographer listed in the 1860 city directory with an establishment at 336 Spruce Street., He was probably also the administrator of the estate of engraver and lithographer Frederick J. Pilliner, possibly his son, in 1861 as well as the George Pillner listed in the 1870 census without an occupation.

: Pinkerton, E. J. (Edward J.); Edward J. Pinkerton, partner in Pinkerton, Wagner & McGuigan, was a Philadelphia lithographer active in the 1840s. Pinkerton's earliest known lithographic work, including illustrations for Huddy & Duval's "U.S. Military Magazine" as well as "Ladies' Garland," was as an artist in the establishment of P. S. Duval between 1840 and 1842., Between 1842 and 1843, Pinkerton began to publish his own lithographs and his "spirited sketch" of Pope Pius VII was favorably advertised in the "Philadelphia Inquirer" (October 31, 1842). He also worked at the establishment of Thomas Sinclair (101 Chestnut Street) before starting his own firm at 100 Chestnut Street in 1843. By 1844 his former Duval colleague Thomas Wagner as well as John McGuigan entered the firm operated as Pinkerton, Wagner & McGuigan 1844-1845. The firm predominately produced book and periodical illustrations as well as experimented early with chromolithography. Following his departure from the partnership, Pinkerton remained in the printing trade. He relocated to Lancaster, Pa. by 1855 where he operated a job printing business and published 'The Pathfinder" with John Huber.

: Pinkerton, Wagner, & McGuigan; Pinkerton, Wagner & McGuigan was the short lived partnership between James McGuigan and former P.S. Duval lithographers Edward J. Pinkerton and Thomas Wagner at 100 (i.e., 300 block) Chestnut Street. The firm predominately produced book and periodical illustrations, including plates for "Godey's Magazine" and the "Guide to Laurel Hill Cemetery, near Philadelphia" (1844). Pinkerton, Wagner & McGuigan also experimented early in chromolithography, and in 1844 received a silver medal for their "polychromic lithography" at the Franklin Institute Exhibition of American Manufacturers., During the partnership Pinkerton lived at 13 Morgan Street (below Vine Street), and Wagner at 18 Swanwick Street and McGuigan possibly at 20 Swanwick Street (his address in 1851) in Center City.

: Poleni, Theodore; Theodore Poleni, a European-trained lithographer born in 1834 in Breslau, Germany, worked in the trade in Philadelphia ca. 1869-ca. 1880. Poleni (listed as a lithographer) traveled to the United States in October 1857 on board the ship "Luna" from Bremen to Baltimore and again (listed as a printer) in October 1863 on board the ship "Washington" from Bremen to New York. By 1868 he resided in Philadelphia and worked as an engraver with a residence north of Center City at 1204 Wood Street. In 1869 he relocated to 112 Cottage Street in South Philadelphia and began to be listed in city directories as a lithographer., During the 1870s, Poleni remained in South Philadelphia and delineated views commemorating the Centennial Exhibition of 1876 printed and copyrighted by Thomas Hunter in 1875 and 1876. He remained in the local trade and South Philadelphia until at least 1880 when he was listed in the census as a chromo artist with an address at 1805 South Sixth Street. He resided as a widower with his sister Ottilie (b. ca. 1848) and three children between thirteen and seven years of age. Poleni remained in Philadelphia until about 1883 when listed as an artist with a residence at 1616 South Seventh Street in the city directory. By 1888, he is listed in Rochester, N.Y. city directories as a lithographer. In the 1890 edition Poleni is noted as deceased., Poleni is possibly the brother of New York lithographer Oscar Poleni (b. ca. 1845) who resided in Buffalo, N.Y. at the time of the 1880 census.

: Potsdamer & Co.; Potsdamer & Co., a Jewish Philadelphia lithographic firm active 1875-1885, was established by Theodore Potsdamer and Alfred Jones as Jones & Potsdamer (321 Chestnut Street) ca. 1872. Jones left the partnership in 1875 and Potsdamer continued operations as Potsdamer & Co. until 1885 (after having relocated to 243 South Third Street in 1882) when the firm was taken over by the Ketterlinus Company due to Potsdamer's declining health. In 1874, Potsdamer & Co. received a silver medal for "engraving sharp, shield panel work, and Spencerian script," but was reported as losing considerable money for work for the Centennial Exhibition of 1876. Potsdamer & Co. predominately produced chromolithographic trade cards and other advertising ephemera in addition to letterpress work, mostly for benevolent organizations of the local Jewish community. Organizations included the Society of the United Hebrew Charities of Philadelphia, Jewish Hospital Association of Philadelphia, and Jewish Foster Home and Orphan Asylum of Philadelphia.

: Potsdamer, Theodore; Theodore Potsdamer, proprietor of the Philadelphia lithographic firm Potsdamer & Co., was born May 1842 in Wansteck, Hamburg, Germany. Son of Bethel/Berthold (b. ca. 1819), a capmaker, and Rebecca (b. ca. 1824), Potsdamer arrived in Philadelphia with his family before 1850. By 1861, Potsdamer worked as a clerk and then salesman for the cap manufactory co-owned by his father, Potsdamer & Bro. As a salesman, he earned a decent living, and his income and a gold watch, were taxed in 1864., In the retail cap business until ca. 1871, Potsdamer entered the lithographic trade when he partnered with Alfred T. Jones in Jones & Potsdamer (321 Chestnut Street) ca. 1872. In 1875 Jones left the partnership and Potsdamer continued the business as Potsdamer & Co., which specialized in advertising ephemera and job printing for Jewish organizations. In 1885 Potsdamer, his health in decline, disposed his firm to the Ketterlinus Company where he took over as manager of their Commercial Lithography department. Potsdamer continued in the lithographic trade with Ketterlinus until shortly before his death in 1919., Before 1870, Potsdamer married Hannah Shonenman (ca. 1846-1904) with whom he had two children Clara (b. ca. 1869) and Joseph (b. 1870), also a lithographer. During the time with his father's business, Potsdamer mainly resided with his family at 628 Marshall Street, before relocating ca. 1873 to 1644 North Eighth Street with his own family and a servant, where he remained until 1910. He also had a summer home at Wyncote, where his wife died in 1904. As of 1910, he and his son lived with his daughter and her husband, merchant Alfred Klein at 1921 Girard Avenue., A member of the Rodeph Shalom congregation and the charitable Excelsior Lodge No. 21 of Improved Order of the Free Sons of Israel, Potsdamer died at his Girard Avenue residence on November 5, 1919 following weeks of illness after years of declining health. He was buried at Mt. Sinai Cemetery.

: Probst, John; John Probst, born ca. 1805 in Germany, was a lithographer active in Philadelphia and New York ca. 1838-1850. Most often described as a New York lithographer, Probst designed ca. 1838-1839 one of the earliest billheads of P. S. Duval. The print depicting a view of the Merchant's Exchange is held in the collections of the American Antiquarian Society., Probst was listed in New York City Directories 1844-1850.

: Quarre, Victoria; Victoria Quarre, born ca. 1800 in France, operated a lithographic establishment in Philadelphia ca. 1862-1873. Originally listed in the 1856 Philadelphia city directory in the lampshade trade with her French-born husband Ferdinand (b. ca. 1800) at 256, i.e., 805 Race Street, Quarre was taxed solely by the I.R.S. between 1862-1866 for lampshade manufacturing and lithographic printing at 832 Arch Street. Lithographers employed by the firm included Alphonse Bigot, Gustave Wedekind, and Edward P. and Louis Restein. Following her death in 1873, Quarre's partner since ca. 1872, W.A. Duff, held an auction of the "stock, tools, &c of a lithographic establishment" to close the partnership, but did continue the firm. V. Quarre & Co. remained in operation as of 1890, and issued a lithograph of the Catholic Total Abstinence Union of America Centennial Fountain in 1875. Under the proprietorship of Duff, the firm was also advertised in the 1879 edition of The Baxter Panoramic Business Directory with an establishment date of 1837., Quarre probably arrived in Philadelphia in the 1840s with her husband who declared his intent for naturalization in March 1848. In the 1850 census, she resided with him in the Mulberry Ward. Following her husband's death, Quarre married Wedekind, a lithographer at their establishment, in the late 1860s. He died in 1870., Quarre died on August 17, 1873 with a residence at 1534 Coates Street. She was buried at Laurel Hill Cemetery and gave bequests of several thousand dollars to Catholic organizations, including the Roman Catholic Church of the Holy Family and St. John's Roman Catholic Orphan Asylum of Philadelphia.

: Queen, James F.; James Queen, the premier Philadelphia artist, lithographer, and chromolithographer, known for his attention to detail and composition, was born in Philadelphia 1820 or 1821. Son of William Queen, a cordwainer, he began his career in lithography at around 14 years of age with an apprenticeship to George Lehman and P. S. Duval (whom he would associate his entire career) on November 24, 1835. Apprenticed for five years, Queen began to design lithographs of all genres for Duval, including illustrations for his "U.S. Military Magazine" (1840-1841), advertisements, sheet music, and city views, in the early 1840s. During this period, he also married Sarah (Sally) Harvey (b. ca. 1826) in 1843 with whom he had three daughters Emma (b. ca. 1845), Mary (b. 1850), and Elizabeth (b. ca. 1858) and resided in his home neighborhood of Southwark., By the middle of the 1840s, Queen began to work with Duval's main business rival Wagner & McGuigan as well, including drawing a ca. 1847 advertisement showing the interior of their firm. Nonetheless, the majority of his work continued to be printed by Duval. Working from his own sketches, other artists' works, and drawing directly on the stone, Queen produced with Duval certificates (particularly agricultural fairs), fashion prints, church views, and the noted genre views "Shad Fishing" (1855) and "Souvenir of the Coldest Winter on Record" (1856). As a result of these diverse skills, in 1861, Duval made Queen the superintendent of his drawing department. By this time, the artist owned personal property worth $400 and his own home worth $1800 at 812 Wharton Street., Queen continued his success in the trade in the 1860s. Despite enlistment in the Pennsylvania Militia during the summers of 1862 and 1863, he designed firefighting scenes for certificates and several Civil War related views. Queen's Civil War work showcased his skills for details and he served as the prime artist for most of the fundraising chromolithographs of the era, including views of Cooper Shop and Union volunteer refreshment saloons (many printed by Thomas Sinclair), hospitals, soldiers, and armories. He also delineated a series of patriotic, sentimental and comic collecting cards after the designs of Henry L. Stephens during this period. By 1864, Queen earned enough income to be taxed by the I. R. S. and Duval enlisted his "best artist" to draw the highly-regarded chromolithograph "Buildings of the Great Central Fair, in Aid of the U. S. Sanitary Commission Logan Square, Philadelphia, June 1864," printed on the grounds of the fair as a fund raiser and to promote the still novel color print process in the city., Queen did not only delineate separately-issued prints and views of Philadelphia between the 1840s and 1860s, but also views of Pennsylvania, Niagara Falls, and Virginia in addition to portraits and illustrations for congressional documents and books. He also maintained a study collection of prints, including British and French lithographs and specimens of photolithographs., Despite his prolific output in the trade, Queen also found time for benevolent work. Queen was a member of the Independent Order of Odd Fellows as well as the Weccacoe Engine Company, which he depicted in ca. 1851 and 1860 certificates. This benevolence also extended to his personal life and he shared his Southwark residence with his sister-in-law and nephew by 1860., Queen resided in Southwark most of his life, first with his parents at 489 South Second Street (i.e., below Catherine Street), then Third Street above Federal Street by 1847; and 409 South Second Street and 533 Queen Street during the 1850s before relocating to Wharton Street in 1860., By 1870, Queen continued to live at 812 Wharton Street, and owned real estate worth $7000 and personal property worth $1000. He also predominately worked as a chromolithographer, including designing an advertisement for fellow lithographer Ferdinand Moras's establishment. Soon thereafter, his chromolithographic work would focus on genre, sentimental and art reproductions for parlor prints, initially with Duval & Hunter (successors to Duval) and later with prolific chromo publisher Joseph Hoover. As of the 1880 census, Queen listed his occupation as "chromo-artist," he was a widower, and he headed a household with a servant at 724 Pine Street (his residence since 1874)., Queen died on January 15, 1886 from multiple sclerosis, four years after receiving a $60,000 bequest from his successful, publisher brother Francis. At the time of his death, Queen bequeathed $500 worth of railroad stock to a family friend, voided promissory notes owed by his former employers P. S. and Stephen Duval, and owned real estate worth $20,000 and personal property worth $12,500.

: Quintin, D. S. (David S.); David S. Quintin, respected Trenton farmer and horseman born in Pennsylvania in July 1818, trained and worked as a lithographer in Philadelphia ca. 1841-ca. 1845. A pupil of Alfred Hoffy, known work by Quintin includes a periodical illustration for Hoffy's "Orchardist Companion" (1841) and the advertisement "United States Hotel" (1840), both printed by P. S. Duval. Although he delineated lithographs of horses in the 1860s, Quintin remained active in the Philadelphia trade until about 1845 and by 1850 operated a boarding house in Nottingham, New Jersey, before entering the farming and horsemanship trade. He was known as an excellent rider and instructor, owned Quintin's Track (a.k.a. Villa Park) in Trenton, as well as operated Trenton Riding Academy until 1888. Quintin died on January 24, 1905 while he resided with his son and engineer Thomas (b. 1847) in Philadelphia. He was interred at Mercer Cemetery in the Quintin family vault in Trenton, N.J., During the 1840s while working in the lithographic trade, Quintin resided at Allen Road above Frankford Road in Kensington. By 1850, he relocated to Mercer County, N.J. and resided with his wife Caroline (b. ca. 1825-1876) and his first two of several sons in the boarding house that he operated. He remained in Mercer County through the 1880s maintaining real estate valued at $18-20,000 between 1860 and 1870. By 1900, Quintin relocated to the Philadelphia residence of his son.

: Ralston, John; John Ralston, born ca. 1828 in Ireland worked as a compositor and lithographic printer in Philadelphia ca. 1850-ca. 1857, including at the establishment of P. S. Duval (8 South Fifth Street) in 1857. During the mid 1850s, he resided in Center City and at 29 Quince Street (above Eleventh Street and below Locust Street) in 1855 and at 76 South Fifteenth Street in 1857., According to the censuses, Ralston lived in a boarding house in the Middle Ward (Center City) in 1850. By 1860 he worked as a printer in Cincinnati, Oh. and resided with his wife Kate (b. ca. 1829, Ireland) who he presumably married by ca. 1854 since had three children born in Pennsylvania under the age of six.

: Rease & Scattergood; See Rease, William H.

: Smithsonian-ArchivesCenter-Rease.jpg; William H. Rease, born in Pennsylvania ca. 1818, was the most prolific lithographer of advertising prints in Philadelphia during the 1840s and 1850s. Rease became active in the trade ca. 1844, and through the 1850s he predominately worked with printers Frederick Kuhl and Wagner & McGuigan in the production of advertising prints known for their portrayals of human details., Although Rease often collaborated with other lithographers, by 1850 he promoted in "O'Brien's Business Directory" his own establishment at 17 South Fifth Street, above Chestnut Street. He advertised his drawing on stone of "foundries, factories, stores, machinery, portraits, landscapes, architectural drawings etc." In 1855 he relocated his establishment to the northeast corner of Fourth and Chestnut streets, after a ca. 1853-1855 partnership with Francis Schell, where in addition to advertising prints he produced certificates, views, maps, and maritime prints., Between 1856 and 1861, Rease partnered with Henry W. Scattergood in map mounting with an additional shop front at 512 North Ninth Street 1861-1862. During this time Rease maintained a good credit rating with $2,000 of capital in 1856 and in 1861 he advertised his $1.00 lithograph "printed to order" of the U.S.S. Hartford as a memento and "Encouragement to our blue jackets." The same year he employed lithographers Charles Bonwill, Francis Daniels, and George Kunzman. Rease continued his successful business and during the Civil War earned enough income to be taxed by the I.R.S. In 1867 he entered another partnership with Horatio J. Kurtz, his probable apprentice whom lived with Rease as a teen in 1859 and 1860. The partnership lasted about a year and Rease remained active in the trade until ca. 1873., During his career in lithography, Rease resided in North Philadelphia (1844-1852, 1857-1862, 1868-1872) or Fairmount (1853-1856, 1862-1867). In 1860 he lived at 1440 Marshall with his wife Elizabeth (ca. 1824-1896) and the lithographers Horatio Kerse, i.e., Kurtz (b. ca. 1844) and Francis Daniels (b. ca. 1835). His personal estate was valued at $950, which increased to $4000 in 1870 when a resident at Marshall Street, corner of Venango Street. By 1880 "artist" Rease and his wife were boarders at 2120 Wallace Street. Rease died on April 26, 1893 while a resident of 313 Radcliffe Street, Bristol, Pa.

: Reen, Charles; Charles Reen, born in Germany ca. 1828, was a lithographer, engraver, and artist who worked in Philadelphia ca. 1850-1857 and ca. 1860-1881. Reen resided as an artist in Philadelphia by 1850 and lived with his wife Catherine (b. ca. 1829) in a multifamily residence with artists Lee Elliott and Morris Levly in the North Mulberry Ward. In 1857 Reen entered into a lithographic partnership with lithographer Charles Shober at 5 South Sixth Street, which they reestablished in Chicago the following year. By 1860 Reen returned to Philadelphia. He worked as a lithographer at 42 South Third and 403 Race streets 1860-ca. 1867. During this period, Reen also invented a new chemical process for watermarks for which he was recognized in the "Printers' Circular" in 1866. In 1870 he entered a partnership with Eyre Keyser as Keyser & Reen, "lithographers & fancy printers," at South Second and Chestnut streets. Reen also now resided at 126 Laurel Street (Ward 16) with his wife and three children with real estate valued at $10,000., By 1872 Reen had formed a new partnership with Watson Trump, a Germantown resident, and they advertised in July 1872 for a "good stout boy" to work a lithographic printer at their establishment at Fourth and Market streets. The partnership was active until 1881. Reen remained in the trade until 1885 with an establishment at 14 North Fourth Street in 1882. During his partnerships and solely, Reen produced advertising prints, view prints, certificates, and trade cards. Reen died in June 1885 while partnered with his son Charles, Jr. and a resident of 1235 Brown Street.

: Rehn, Isaac; Isaac Rehn, the Philadelphia photographer born in York, Pennsylvania in 1815, also worked as a photolithographer in the city ca. 1861-ca. 1883. Born of the Quaker faith, Rehn entered the field of photography by 1849 when he was listed as a "photographist" in city directories. In the 1850s he received a patent for an ambrotype process with partner James Cutting of Boston (1854) and began to experiment with the photolithographic process. In 1858 a collection of his photolithographs was noted in the "American Journal of Photography and the Allied Arts and Sciences" and he issued a series of stereographs of European views in this medium through the American Stereoscopic Co. (i.e., Langenheim, Lloyd & Co.) ca. 1859-60. In 1861 he began to be listed in city directories as a photolithographer and in 1873 was in partnership with Alfred Dickes (Rehn & Dickes) in this field at 125 South Fourth Street. Although Rehn died in 1883, his experiments with transfer paper are cited in a December 1884 article about photolithography in "The Photographic News.", Rehn was also a noted and devoted spiritualist who often lectured about the subject and served as the leader of the Harmonial Association of Philadelphia, as well as "The Penetralium," an investigative group of scientifically-minded spiritualists. His pursuit of scientific inquiry also led to his patenting of improvements to photography, photolithography, and fine art printing as well as displays at the Exhibitions of Manufacturers at the Franklin Institute. He was also an innovator in microphotography, a labor organizer, the recipient of a $500,000 contract to reproduce Patent Office Drawings in 1860, and a member of the faculty of Pennsylvania Medical University (1874-1876)., According to censuses, Isaac Rehn lived in Center City (Ward 9) with his wife Abigail (1818-1894) and several children, including photographer William (b. ca. 1842) in 1860 and in Washington, D.C. in 1870. His personal estate had increased from $1000 to $5000 during this decade. By 1871 he returned to Philadelphia and resided at 1321 North Seventh Street before returning to York, Pa. in the late 1870s where he died in September 1883.

: Reitman, Joseph; Joseph Reitman, born ca. 1830 in Bavaria, worked as a lithographer in Philadelphia in 1860. He resided in North Philadelphia (Ward 20) as head of a household that included his wife Caroline (b. ca. 1834), and shoemaker Daniel Moore and Moore's deaf wife. Reitman owned real estate valued at $1400 and personal estate valued at $200.

: Restein, E. P. & L.; E. P. & L. Restein, the Philadelphia chromolithographic firm established by brothers Edmund Prosper and Louis (Ludwig) Restein, operated ca. 1864-1912., Originally an independent branch of their father's fancy card manufactory, James Restein & Sons, at 702 Chestnut Street, E. P. & L. Restein also included a "chroma factory" at 714-16 Federal Street by 1867. The establishment, which maintained good to fair to poor credit, initially produced lamp shades before specializing in parlor prints and novelties, particularly views and genre scenes, by the 1870s. Credit reports indicate the Resteins' establishment's worth at about $12,000 to $15,000, and in 1874, the brothers purchased several lots above Seventh and Dickinson Streets. By 1876, the establishment relocated to their lots on Dickinson; associated with the financially-troubled The National Chromo Company as their publisher; and was noted in the credit reports as having a fair number of judgments owed. Despite these financial instabilities, the Resteins continued to do a "large business publishing chromos" in 1889. Following the deaths of the brothers in the early 1890s, the firm continued under the management of Edmund's wife Rebecca, but by 1897 the business's several judgments began to take a major financial toll and the establishment entered into bankruptcy proceedings. In October 1912, the firm, including 300,000 lbs of lithographic stones, was sold at auction., Edmund Prosper and Louis (Ludwig) Restein, sons of lithographer, card, and paper manufacturer James Restein (b. ca. 1811) and Catherine (b. ca. 1812), born in France in 1837 and ca. 1838, respectively, immigrated to Philadelphia in 1852. In 1855, their father worked at the establishment of P. S. Duval (5 Ranstead Place), where the brothers were purported by Peters to have trained. Other early work experience was provided by the lampshade and lithograph manufactory of V. Quarre & Co., where father and sons were also employed as cited in credit reports., In 1858, Edmund was listed in city directories at the establishment of Alphonse Brett (N. E. Sixth and Minor Streets) and in 1861 at the establishment of L. N. Rosenthal (501 Chestnut Street) before the brothers are listed in partnership with William Stott in E. P. & L. Restein & Co., shade manufacturers at 713 Federal Street (the Resteins residential address). By 1867, Edmund and Louis only remained in the firm., In 1860, the brothers lived with their parents in South Philadelphia, where they lived and worked throughout their lives. By 1870, Edmund had married Rebecca (b. ca. 1842) and had several children. In 1880, Edmund lived at 1224 South Eight Street with his family and Louis resided at 8041 Wharton Street with possibly his second wife, Virginia-born Elizabeth (b. ca. 1847) and his two sons, John and James, whose mother was born in Pennsylvania. Edmund died in December 1890, while Louis died on January 25, 1894 in a carriage on his way to his residence on Wharton Street. According to Louis's will, he left an estate and real estate, each worth $10, 000. Indicative of the troubled states of the Restein firm, his share of the business remained as a loan to the surviving partners (as agreed to by executors of his brother's estate in 1893) from which the interest and all revenue went to his two sons and wife as long as she remained a widow.

: Restein, Edmund P.; See Restein, E. P. & L.

: Restein, Louis; See Restein, E. P. & L.

: Reynolds, Robert F.; Robert F. Reynolds, born ca. 1818 in Pennsylvania, was a portrait painter who worked as a lithographic artist in Philadelphia ca. 1841-1886. He primarily designed fine-detailed architectural advertising prints, such as the beautiful chromolithograph "H. B. McCalla, Successor to the late Andrew McCalla, No. 252 Market St. First Hat & Cap Store Below 8th St. South Side, Philadelphia" (ca. 1852)., Reynolds began his career as a portrait painter in 1841, when he exhibited a portrait after Henry Inman at the Artists' Fund Society. Two years later he operated from 17 South Fifth Street, the same address tenanted by William H. Rease from 1844-1854. Reynolds delineated many lithographs for Frederick Kuhl in the mid-to-late 1840s and for Wagner & McGuigan in the 1850s. Reynolds's subsequent business addresses were: 75 Dock Street (1853); 30 South Fifth Street (1854-1856); 204 South Fifth Street (1858-1859); 209 South Fifth Street (1863-1869); 506 Walnut Street (1874-1878); 1539 Chestnut Street (1881-1883); 723 Walnut Street (1884-1885); and 909 Walnut Street (1886)., His residences between 1850 and 1880, when not his studio address, are mostly unknown. The 1850 census indicates that he resided with his mother Mary Reynolds (b. ca. 1785) in Center City near South Street in the New Market Ward. By 1880 he resided as a single man at 242 South Third Street in Center City.

: Rice & Clark; Rice & Clark, the partnership between gentlemen publishers Daniel Rice & James G. Clark (1789-1883), published between 1842 and 1844 volumes 2 and 3 of the seminal "History of the Indian Tribes of North America . . ." containing hand-colored portrait lithographs printed by John T. Bowen. The partnership operated from 132 (i.e., 600 block) Arch Street., James G. Clark, born 1789, lived in the High Street ward in 1850 and maintained a gentleman's office on the 600 block of Arch Street from the 1830s to 1860s. Clark died May 8, 1883.

: Richard, John H.; John H. Richard, born in Germany (or possibly France) in 1807, was the artist of the first true American lithotint published in Philadelphia in 1843. Richard was also an engraver , lithographer, scientific illustrator, as well as an exhibits preparator at the Smithsonian Institution, who worked in Philadelphia between the 1840s and 1870s. Between 1841 and 1843, although listed in city directories as an engraver, Richard also worked at the establishment of P. S. Duval. At Duval's firm, he delineated plates for Holbrook's "Herpetology" and experimented with lithotinting. In 1843, he produced "Grandpapa's Pet," the first true American lithotint published in "Miss Leslie's Magazine" (April 1843). By the early 1850s, he worked at the U. S. Mint and produced illustrations for several government reports and accepted commissions from the Smithsonian, such as the hand coloring of bird drawings by Robert Ridgway., His association with the Smithsonian continued through the 1870s and in 1875 he prepared the Smithsonian's natural history exhibits for the Centennial Exhibition of 1876. He died in Washington, D.C on March 18, 1881 with Mary H. Ettinger (later Bates) of Salfordville, Pa. and Professor Spencer F. Baird of Washington D.C as the executors of his will. Despite being bequeathed all his personal estate. Ms. Ettinger renounced her rights to it., During his career in Philadelphia, according to the censuses, Richard (listed as born in Germany) lived in 1850 in Spring Garden Ward 4 with his wife Mary (b. ca. 1819), Margaret Evans, and artist Siam Shindler. He was probably the John Richard listed at 500 Callowhill Street in the city directory for that year. In 1860, he was listed as born in France and as a designer who lived in Ward 21 (Schuylkill Falls) in a large household, including his wife, gentleman Henry Trumbauer, and a servant. He owned real estate worth $4,000 that increased to $18,000 in 1870 when he resided in Ward 25 (Northeast Philadelphia) alone.

: Richards, John; John Richards, born in Sweden, was a self-trained lithographic artist who drew a series of lithographic views of Germantown in the later 19th century. Richards began his artistic career during his convalescence at Chestnut Hill Hospital during the Civil War. A New York volunteer, Richards relocated to Germantown following his discharge from the army. He was made sexton of the Calvary P.E. Church and continued his sketches of Germantown, which were lithographed by John Hart and sold to neighborhood residents and visitors. In 1913, Julius Sasche compiled and published the views under the title "Quaint Old Germantown: Sixty Views of Ancient Landmarks...1863-1888." Richards died on August 26, 1889

: Rider, Alexander; Alexander Rider, was a German or Swiss-born artist, colorist, and engraver, who worked in the lithography trade in Philadelphia in the early 1830s. Rider probably arrived in the United States before 1808 as the assistant to A. Enslen, botanical collector for the Austrian emperor. In the 1810s and 1820s, Rider drew book illustrations, including for Wilson's "American Ornithology" (1825-1833), as well as worked as a miniature and portrait and historical painter. By 1830, he entered the lithographic trade and delineated genre prints for Kennedy & Lucas and later Childs & Lehman, including the noted "Camp-Meeting" (ca. 1830) showing a revivalist meeting. Rider continued as an artist in the printing trades into the 1840s and produced plates for Godman's "American Natural History" (1846).

: Robertson, Lizzie; Lizzie Robertson born in Philadelphia ca. 1861 worked as a lithographer in the city in 1880 while a resident at 1307 North Tenth Street. She is one of the few listed female lithographers of the 19th century.

: Robyn, Edward; Edward Robyn, born ca. 1821 in Emmerich, Westphalia, was an artist and lithographer who worked in the lithographic trade in Philadelphia 1848-1850. Son of cloth dealer Diedrich Robyn, Robyn arrived in the United States in St. Louis in 1846. Although first listed in Philadelphia city directories in 1848 as a lithographer at the southeast corner of Third and Pear Streets, he delineated a view of the new Odd Fellows Hall printed by William Hart ca. 1847. In the late 1840s, Robyn also designed a Philadelphia Sabbath Association certificate printed by Thomas Sinclair. By 1850 he had partnered with William Dreser as Dreser & Robyn at 93 South Third Street (Robyn's address on the Odd Fellow print). The two had previously delineated plates for the gift book 'Pearls of American Poetry" (1847?). By October 1850 despite remaining listed in the Philadelphia city directory as an artist at 31 Merchant's Exchange with a residence at 14 Spruce Street. he had relocated to St. Louis, Mo. as recorded in the census for that year., Robyn partnered in a lithographic establishment with his brother Charles in St. Louis until 1857. The firm issued mainly Western town views. During this time Robyn also created his panorama "A Tour of the Eastern and Western Hemisphere" held at the Missouri Historical Society. By 1860 Robyn relocated to Hermann, Mo. due to his health (tuberculosis) and became a farmer. He died there in 1862., Robyn was married to Julia (b. ca. 1826) with whom he had seven children by 1860.

: Roche, David; David Roche, born ca. 1835 in Pennsylvania, worked as a lithographer in Philadelphia in 1860., In 1860, Roche lived in the household of his Irish-born father, laborer Thomas (b. ca. 1810) with over 15 persons at 4 Hickey Street in Center City (Ward 9). Roche continued to live in his father's household in Center City in 1870 and worked as a "painter" according to the census for that year.

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