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

: Harrison & Weightman; Harrison & Weightman, publishers of the satiric series of lithographs, "The Firemen," was a short-lived partnership between print colorists Henry Harrison and William Weightman at 118 North Tenth Street in 1858. The firm published at least four satiric views in the series., In 1858, Harrison resided at 110 South Fourth Street and Weightman resided at 1130 Olive Street, with a business address at 333 Walnut Street. The publisher Edward Young also maintained an office at 333 Walnut Street.

: Hart, John H.; John H. Hart, born ca. 1818 in England, was a lithographer active in Philadelphia between 1854 and ca. 1894. Hart immigrated to the United States and settled in New York in a boarding house in 1850. By 1854 Hart relocated to Philadelphia where he was listed in the city directory as a lithographer with a residence at Orchard above Culvert Street (Northern Liberties). In 1856 he established J. Hart & Co. "Lithographers and Embossers of every description of fancy labels, show cards, &c." at 60 Walnut Street and between 1863 and 1876, operated as sole proprietor of a lithographic establishment at 305 Walnut Street. According to his listings in city directories, Hart remained in printing until 1894, and his likely death., By 1860, Hart owned personal property worth $300 and had married Theresa/Eliza (born ca. 1835-40) with whom, by 1880, he had six children, including cartoonist John F. Hart (1867-1950?). Between 1857 and 1866, Hart resided in South Philadelphia and Frankford and by 1868 relocated to 163 Queen Street in Germantown, where he remained until the 1890s, except for a brief period at 125 Linden Street 1873-1874. Although listed with a Philadelphia business address in the 1860s and 1870s directories, Hart may have also printed from his Germantown residence. Between 1868 and 1888, a series of lithographic views of Germantown after John Richards were issued with Hart's Queen Street address in the imprint. Several of the prints were later published as John Richards' "Quaint old Germantown in Pennsylvania. A Series of Sixty Former Landmarks of Germantown and Vicinity... Collated, Arranged and Annotated by Julius Friedrich Sachse" (Philadelphia, 1913).

: Hart, S[arah] & Son; S. Hart & Son, the partnership established in 1823 between widowed mother Sarah Stock Hart (1789-1863) and her son Abraham Hart (1810-1885), the noted mid-19th century publisher, operated a stationery and fancy goods store that also sold and published lithographs. The firm sold lithographic cartoons by 1829 and published satiric prints, including the "Life in Philadelphia" series of engravings (1829-1830), and per Peters, a ca. 1830s lithographic caricature of a woman titled "Much Ado About Nothing." The firm operated until 1843, originally from 65 South Third Street and after 1838 at 120, i.e., 324 Chestnut Street - the future location of Theodore Leonhardt & Son., Sarah Hart, widow of the dry goods proprietor Abraham Hart (d. 1823), immigrated to the United States from Holland in 1807. A prominent member of the Philadelphia Jewish community, she was active in the Female Hebrew Benevolent Society. She died August 20, 1863 with her residence at 325 Spruce Street., Abraham Hart , in addition to partnering with his mother, also partnered in the publishing firms of E. L Carey & A. Hart (1829-1839) and Carey & Hart (1839-1849) before operating his own firm 1849-1854.

: Hart, William Jr.; William Hart, Jr., son of English-born lithographer William Hart, was born October 1846 and operated his late father's firm at 123-127 North Fourth Street 1888-ca. 1900. By 1870, Hart had been working as a "lithographic printer" at his father's establishment., Hart resided with his father until William Sr.'s death in 1888. Hart remained at his father's late residence at 3703 Spring Garden and lived with an aunt Esther Wilson (b. 1813) and a cousin Elizabeth Wilson (b. 1848) by 1900. Hart died suddenly on August 26, 1906.

: Hart, William Sr.; William Hart, Sr., a prominent Philadelphia lithographer, was born in England ca. 1815. Immigrating to the United States as a boy with his family, he resided and operated his own lithographic establishment (21 Bank Street) in Philadelphia by ca. 1847. During the mid 1850s, he relocated to his longtime establishment at 25 North Fourth Street (ca. 1858-ca. 1877) before his move in 1878 to the building at 18-20 South Sixth Street owned by paper manufacturer Theodore Megarge. Despite a devastating fire resulting in $20,000 worth of loses for Hart in 1879, he continued in business at North Fourth and Cherry Streets (123-127 North Fourth) with "three spacious and well-lighted rooms", a stock of equipment worth $20,000, 15 employees, and a business income of $25,000 a year as of 1881., Although most recognized for his plates for a number of John Gould's multi-volume ornithological color-plate books, including "Birds of Asia" (1850-1883) and "Birds of Great Britain" (1862-1873), Hart practiced all branches of the trade. He early advertised the capability to print in colors (1850) and later in his career, received recognition for his card mounts for photographs., During his first decade in Philadelphia, Hart resided in Kensington (Third Ward) with his wife Grace (b. ca. 1815) and his son William, also a lithographer. By the early 1860s, Hart and his family relocated to West Philadelphia and established a residence at 3703 Spring Garden Street., Hart died on March 9, 1888 with the reputation as a "pioneer" and "progressive" lithographer. His son William continued the business until ca. 1900.

: Haugg, Louis [or Lewis]; Louis/Lewis Haugg, born in 1827 in Germany, immigrated to the United States in 1847 and worked as a lithographic artist and printer in Philadelphia ca. 1855-1900. Although first listed in the 1856 Philadelphia city directory, Haugg worked in Philadelphia by 1855 when he designed the copyrighted lithograph "New Masonic Hall, Chestnut St. Philadelphia" printed by T. Sinclair, and published by William F. Spieler at 212 Chestnut Street; the same address from which Haugg operated in 1856. During the 1850s and 1860s, Haugg delineated maps, fashion plates for F. Mahan, advertisements, and certificates. Most of these lithographs were printed by prominent local firms, including F. Bourquin & Co. (Haugg's neighbor at 602 Chestnut Street when he tenanted 600 Chestnut Street 1861 - 1866); P. S. Duval; and L. N. Rosenthal., He subsequently relocated to 413 Chestnut Street before partnering in 1869 in A. L. Weise & Co. with August L. Weise and Herman Pfeil. The firm first tenanted 29 South Fourth Street (1867-1871), then 45 South Fourth Street (1872-1876), and finally 401 Ranstead Place (1877-1879), where fellow lithographer Stephen C. Duval managed the establishment until 1879. Haugg's professional affiliations after 1879 are unclear, but unlike many of his earlier works, imprints from extant lithographs indicate he served as lithographer and printer, possibly with his own establishment., In 1860, Haugg resided in Northern Liberties (Ward 16) with his wife Elizabeth (b. ca. 1827) and three children, Louisa (b. ca. 1855), Lena (b. ca. 1857) and Louis (b. ca. 1859). By 1864, the family had moved to 1321 Mary Street (i.e., Park Avenue), where a year later his income, piano and watch were taxed by the I. R. S. The entire family remained here for several decades, but by 1900, Haugg was widowed and resided only with his daughter Lena. He died suddenly from heart failure in a saloon at Thirteenth and Market Streets on August 12, 1903.

: Heap, Gwinn Harris; Gwinn Harris Heap, a draftsman, legal indexer, diplomat, and camel agent, born in Chester, Pennsylvania on March 23, 1817, delineated views of the West printed by P. S. Duval in the 1850s. Heap was the son of Samuel Davies Heap (1781-1853), a naval surgeon, and Margaret Porter (1791-1858). His uncle was Commodore David Porter (1780-1843), his grandfather was Pennsylvania judge John Heap (1750-1828), and his great-grandfather was George Heap (ca. 1715-1752) who, with Nicholas Scull, surveyed and drew one of the earliest published maps of Philadelphia (1752)., Heap's diverse career was likely influenced by his youth spent overseas while his father served four terms as American consul at Tunis between 1825 and 1853. Much of his own life was spent in civil service, including positions as vice- and acting-consul at Tunis (1839-1840), as consul at Belfast, Northern Ireland (1866-1867) and Tunis (1867-1878), and as consul-general at Constantinople from 1878 through his death there on March 7, 1887., However, from 1846 to 1855 Heap was employed as a clerk in Washington, D.C., where he compiled the cumulative index to the first edition of the "United States Public Statutes at Large" (A Synoptical Index to the Laws and Treaties of the United States of America, from March 4, 1789 to March 3, 1851, 1852). In 1853 he traveled across the country with his cousin Edwin Fitzgerald Beale (1822-1893) to survey a possible route for a transcontinental railroad. Heap kept a diary and sketched scenes during their trip, thirteen of which were lithographed by P. S. Duval to illustrate their "Central Route to the Pacific, from the Valley of the Mississippi to California: "Journal of the Expedition of E. F. Beale, Superintendent of Indian Affairs in California," and Gwinn Harris Heap, "From the Missouri to California in 1853" (Philadelphia, 1854). Afterward, Heap and Beale became involved with the short-lived War Department initiative of importing camels from the Near East for use as pack animals in the American Southwest.

: Heiss, George G.; George H. Heiss, born in 1823 in Philadelphia, was a mid-nineteenth century Philadelphia lithographer who worked with Wagner & McGuigan and specialized in views of fire fighting equipment., The Heiss attribution first appeared on Wagner & McGuigan advertisements in 1847 and by 1855, Heiss operated his own establishment at 213 North Second Street. At this address, until the early 1860s, he mainly lithographed and published views of fire fighting engines for local volunteer companies, including the United States Fire Company and West Philadelphia Hose Company. Heiss remained in the trade as of 1865 when he published "The Illustrated National Alphabet" illustrated with lithographs. In 1868, Heiss left lithography and established an artist's materials emporium at 25 North Eleventh Street, which he operated until ca. 1885., Heiss also exhibited at the Artist's Fund Society 1840-1843, worked as a portrait painter, and lived in Ward 11 in 1860.

: Helfenstein & Lewis; Helfenstein & Lewis, was the partnership between Philadelphia printer Jonathan S. Helfenstein and Philadelphia auditor Samuel G. Lewis at Fifth and Chestnut Streets. Known lithographs include the ca. 1868 views showing the drugstore of Frederick Brown in 1822 and 1868., John Helfenstein, born in Maryland about 1827, resided at 140 North Eighteenth Street in Center City (Ward 10) in 1870. His real estate was valued at $16,000 and his personal estate at $30, 000., Samuel G. Lewis resided at 1340 North Thirteenth Street in 1870.

: Henderson, John N. [L.?]; John N. Henderson, born in 1818, was a Philadelphia printer who published P. S. Duval's noted "Commissioner's Hall, Spring Garden" in 1851. Henderson worked in the printing trade from 1847 through the 1890s, including as a compositor and proof reader at the Philadelphia "Public Ledger" at the time of his death on July 29, 1892., Henderson lived in South Philadelphia, including Southwark Ward 4 and Ward 2 between 1850 and the 1890s. He resided at 1238 South Fifth Street at the time of his death. He was married to Mary (b. 1823) with whom he had children Catherine (b. 1849), Elizabeth (b. 1857) and John L. (b. 1861), who also worked in the printing trade.

: Hennesey, James; James Hennesey, born ca. 1862, worked as a lithographic printer in Philadelphia in 1880. He lived with his Irish-born mother Mary (b. ca. 1840) and a fellow lithographic printer Albert Matlack (b. ca. 1830) in Center City (Ward 8).

: Hensel & Urwiter; Hensel & Urwiter (Urwiler), was the short-lived partnership between Philadelphia lithographers Daniel Hensel and John J. or Benjamin F. Urwiler ca. 1855-1856 at 76 South Third Street., Known work by the partnership includes the portrait of "A.E. Ames, M.W.G.M. of the Grand Lodge of Minnesota" for the Philadelphia periodical "Masonic Mirror & Keystone," edited by Jewish mason Leon Hyneman and published 1852-ca. 1860 and "Washington and His Staff at Valley Forge" by E. Moran after Veron Fletcher.

: Hensel, Daniel; Daniel Hensel, a Philadelphia lithographer, framer, and looking-glass store proprietor, was born in Philadelphia on December 19, 1830. Son of German immigrants John G. Hensel (1789-1866), a baker, and Mary D. Vogt (1799-1883), Hensel was the second oldest of six children. Married before 1860, he had two children John C. (1859-1954) and Edward S. (b. 1861) with his first wife Sarah Summers (1833-1861). With his second wife, Susan Summers (1845-1912), his first wife's sister, he had Albert H. (1868-1869), Frederick W. (1871-1877), and Florence N. (1880-1955)., For most of his lithographic career, Hensel lived in North Philadelphia, starting with a residence at 309 Crown Street and by 1861 at 1731 Wylie Street. Around 1880, he relocated to Camden where he spent the rest of his life, active as a "mirror finisher" as of 1900., Although a lithographer by 1850, and partner in Hensel & Urwiler (ca. 1855-1856), most of Hensel's known work dates to his 1857-1866 partnership with Edward Herline. Operating from 630 Chestnut Street, the partnership produced lithographs in all branches of the field, including illustrations, maps, sheet music, and portraits with their chromolithography, bird's eye views, and panoramic maps garnering most note. The work proved profitable, and in 1865 Hensel was taxed on income equivalent to over $40,000 dollars in today's figures., Despite this success, the partnership ended in 1866. Following the dissolution, Hensel retained the Chestnut Street studio and worked as an engraver, publisher, lithographer, and partner in the looking glass business L. B. Loux & Co. before entering into his long term career as a looking-glass, picture, and frame manufacturer in 1876. He remained in business in Philadelphia until ca. 1896., Retired as of the 1910 census, Hensel passed away almost a decade later on November 5, 1919.

: Herlin, August; August Herlin, born ca. 1838 in Württemberg, Germany, worked as a lithographer in Philadelphia and resided in Center City (Ward 5) in 1860. Possibly the same August Herlin that worked as a tailor and resided in Brooklyn, New York from about 1880. Born in Sweden ca. 1836, this Herlin appears on lists for ships destined for New York City as early as 1869, before his family joined him in the states.

: LCP-HerlineHensel-2-1525-F-3.jpg; Herline & Hensel, Philadelphia lithographers and partners Edward Herline (1825-1902) and Daniel Hensel (1830-1919), were practical lithographers in all branches of the field. Established in 1857, the business operated from 630 Chestnut Street until ca. 1866 when the partnership was dissolved., Known for their chromolithographs and bird's eye view prints, Herline & Hensel also produced advertisements, sheet music covers, maps, portraiture, political cartoons, certificates, and illustrations, including all the plates for Abraham Ritter's "History of the Moravian Church in Philadelphia" (1857) and Henry E. Colton's "Mountain Scenery: The Scenery of the Mountains of Western North Carolina and Northwestern South Carolina" (1859), both published by the Philadelphia firm Hayes & Zell., Herline & Hensel also issued lithographs for the German American community, and produced prints for government reports, including near $100 worth of work for "Governor Stevens's" report in 1860. The firm may also have printed the maps for the Hexamer & Locher series of ward atlases in the late 1850s and early 1860s.

: Herline, Edward (Otto); Edward Otto Herline, born in Hesse-Darmstadt, Germany, in June 1825 was a Philadelphia engraver and lithographer known for his artistry who produced lithographs for all branches of the field, including book illustrations, maps, and advertising and view prints. One of six children of printer Gustaff Herline and Kunigune Siebenkaes, Herline emigrated to New York with his brother Gustavus (1829-1884, a lithographer in Cincinnati and later a silver plater in Pittsburgh) on the ship Alfred in July 1848., Herline soon thereafter relocated to Philadelphia, married German-born Amelia Zeitz (1828-1887), the daughter of a Philadelphia shoemaker, and worked as a lithographer by 1850. Working under the firm name Herline & Co. by 1856, Herline worked in a series of partnerships thereafter, including most notably with Daniel Hensel (1830-1919) with whom he entered into business at 630 Chestnut Street in 1857., Partnered with Hensel until ca. 1866, the firm was active in chromolithography, issued lithographs for the German American community, and produced prints for government reports, including near $100 worth of work for "Governor Stevens's" report in 1860. The firm proved successful and Herline earned enough income to be taxed throughout the Civil War from his home address at 1717 Wylie Street. By 1867, Herline relocated his residence to 1017 Wistar Street and served as sole proprietor of an establishment noted to produce labels, certificates, and checks that "employs a large number of persons." Those employed by Herline included artists James T. Palmatary, Emil F. Beaulieu, and Peter Moran., Circa 1869, Herline took on another new partner (Howard B. Hamilton) and a home address (504 N. 11th) that housed his immediate family, a niece Julia Shomaker, and housekeeper. The new partnership, again called Herline & Co., operated from 630 Chestnut Street, then 39 South Tenth Street until 1872. Over the next five years, Herline would work as a painter, partner in the lithographic firm Herline & Kane (328 Chestnut), and move his residence to 475 North Fourth Street before settling at 78 Garden Street in Hoboken, NJ as of 1880., While residing in NJ, Herline worked as an engraver and by 1900 as a glass sign manufacturer with his sons Emil F. (1850-1914) and Adolph (1852-1918) until his death in 1902. At the end of his life, Herline, a widower, lived with his daughter Helen (b. ca. 1856) and son-in-law Julius Lach in Jersey City. His colleague sons resided at the address as well while his fourth child Edward Otto, Jr. (b. August 28, 1855) resided elsewhere.

: Herr, George; George Herr, born ca. 1843 in Germany, worked as a lithographer, printer, engraver, and painter in Philadelphia 1860-ca. 1910. His family immigrated to the United States by 1848; the year his younger brother Charles was born in Pennsylvania. By 1860 George was a lithographer's apprentice in Philadelphia living with his parents Jacob (b. ca. 1801) and Margaret (b. ca. 1812) and brother in Ward 20. George continued in the lithographic and printing trade and resided with his mother in Kensington at 1532 Thompson Street (Ward 29) after his father's death by 1880. George lived at 1001 Vine Street in Center City (Ward 10) in the 1890s, and boarded alone in many locations until his death on October 15, 1920, with his last address at 4325 Pine Street.

: Hickok & Cantine; Hickok & Cantine, a business formed by William Orville Hickok (1815-1891) and John J. Cantine (b. 1808), specialized in book binding, blank book manufacturing, and publishing between 1839 and 1846 in Harrisburg, Pennsylvania. Despite a fire that razed their shop on March 5, 1840, Hickok & Cantine remained active, publishing most of their works between 1844 and 1846, including a lithograph drawn by Mrs. T. Schreiner, published in 1845 and entitled, "View of the Burning of the Cumberland Rail Road Bridge at Harrisburg, Dec. 4th, 1844.", By 1848, the New York-native William Orville Hickok, who had trained in book binding in Lewistown, Pennsylvania, focused his career on constructing special machinery for book binders. This enterprise, owing to the success of Hickok's patented ruling-machine, expanded rapidly, and the "Eagle Works," later known as the Hickok Manufacturing Company, consisted of a complex of buildings, including a machine shop, wood shop, and two iron foundries in Harrisburg., Less is known about John J. Cantine's life after Hickok & Cantine, except that he removed to Slaterville, New York, where he enlisted as a Private in Company K of the 137th Infantry of the New York Volunteers in 1862.

: Hirsch & Larzelere; Hirsch & Larzelere, the Philadelphia lithographic and printing partnership between Edward Hirsch (b. 1847) and Samuel Larzelere (1852-1908), was active 1876-1879. The firm located at 30 South Fourth Street produced circulars, pamphlets, and trade cards. Edward Hirsch & Co. continued at the address until the early 1880s., Edward Hirsch, born of Jewish-descent in May 1847 in Luxembourg, Holland, immigrated to the United States and Philadelphia, as well as gained citizenship, in 1870. Son of Rabbi Samuel (b. ca. 1815) and Louise (b. ca. 1824), Hirsch lived in Ward 13 with his parents and siblings in 1870. In 1876 he entered into partnership with Larzelere and married Matilda (b. ca. 1855) with whom he lived at 635 North Seventh Street in 1882. Following his partnership in Hirsch & Larzelere, Hirsch operated Edward Hirsch & Co., with his brother Henry until ca. 1887; first at 30 South Fourth Street and later at 117 North Fourth Street. By 1900 Hirsch had two children with his wife and had relocated to Chicago. His household included his brother Henry and a nephew., Samuel Larzelere, son of Alfred and Margaret, was born in April 1852 in New Jersey, his long time state of residence. He was married to Ida R. (b. 1847) on December 24, 1874 in Camden, N.J. and with her had six children as of 1900. Following his partnership with Hirsch, Larzelere continued until at least 1900 to work as a printer in Philadelphia while a resident of Camden, New Jersey. His business addresses included 218 Carters Street (1880) and 237 Dock Street (1890). Larzelere died suddenly on October 15, 1908 with a residence in Maple Shade, N.J. He was interred at Colestown Cemetery in Colestown, N.J.

: Hitchcock, William E.; William E. Hitchcock, born in Pennsylvania ca. 1822, worked as a lithographer in Philadelphia ca. 1852-ca. 1861. Hitchcock lithographed work for P. S. Duval and John T. Bowen, including sheet music covers and book illustrations. Most of his known lithographs are plates printed by Bowen for Cassin's "Illustrations of the Birds of California, Texas, Oregon, British and Russian America" (1855) and Audubon's "The Birds of America" ( 1840-1844) and "The Quadrupeds of North America" (1849-1854)., According to Peters, Hitchcock also delineated drawings for naturalist Louis Agassiz and worked for Thomas Sinclair whose son John married his daughter. Although also purported by Peters to have killed himself in 1880, Hitchcock worked as a teller at the Western Saving Fund (1000 Walnut Street) by this time with a residence at 2126 Mt. Vernon Street. He remained in this profession to at least 1900., Hitchcock was married to Harriet (b. ca. 1829) with whom he had several children. In 1855, he was listed in city directories with the profession of ornithology at 1 Park Place and resided nearby at Twentieth and Locust Streets. In 1861, he lived at 1418 Chestnut Street and in South Philadelphia by 1870. During the 1880s and 1890s he lived at 2126 Mt. Vernon Street and 809 North Twenty-fourth Street. His household often included a servant, and in 1860 he owned real estate valued at $2000., Hitchcock is most likely the William E. Hitchcock noted in the "Philadelphia Inquirer" who died at 85 years of age on May 30, 1906.

: Hitchins, Robert J.; Robert J. Hitchins, proprietor of two lithographic firms in Philadelphia in the early to mid 1870s and a member of the Quaker City Council, was born in Whitehall, New York in 1849. His English parents moved the family to South Philadelphia by 1868, where two years later Hitchins partnered with George H. Douglas to form the lithography business of Hitchins & Douglas at 203 Race Street. The partnership dissolved after around a year, and by 1876 Robert had formed another business, Altemus & Hitchins, with book binder Alfred C. Altemus at 20 North Seventh Street., By 1880 Hitchins had relocated with his family, including his wife Elizabeth (b. ca. 1858) and four children, to Boston, Ma. where he worked as a lithographer. Hitchins returned to Philadelphia with three Massachusetts-born children by 1887 and resided in South Philadelphia. In 1900 eleven children lived in the Hitchins household in South Philadelphia and Robert continued to work as a lithographer according to Philadelphia city directories and census data. He died on February 4, 1914.

: HSP-Hobson-W36-Ba-38-B-934.jpg; Richard H. Hobson, born in England in the ca. 1780s, was an antebellum-era Philadelphia fancy, stationery, and print store proprietor who published in 1832 the unique, morphed lithographic view of the Philadelphia Bank. The print titled "Horizantorium" was lithographed by J. J. Barker after the drawing of William Mason. Hobson worked as a merchant in Philadelphia by 1823 and operated a fancy and print store from 147 (i.e., 400 block) Chestnut Street from the late 1820s to ca. 1835. He also published engravings, sheet music, books, and portraiture, often with engraver and lithographer Cephas G. Childs in the 1830s., Hobson was naturalized in October 1828, and resided in the Chestnut Ward in 1830. His widow E. Hobson operated the fancy store beginning in 1835.

: FLP-Hoffy-pdcc00015.jpg; Alfred A. Hoffy, born in England in 1796 and an ex-Major of the British Army, was an author, lithographic artist, and publisher of noted lithographic periodicals active in Philadelphia ca. 1838-1868. He issued the first illustrated American journal devoted to fruit cultivation, the "Orchardist's Companion," published 1841-1842 and was also the predominate artist of the plates for the military fashion periodical "U.S. Military Magazine" published 1839-1842 by Duval and Huddy. Hoffy delineated portraits, advertisements, fashion plates, and sheet music, predominately printed by P. S. Duval and Wagner & McGuigan during his thirty-year career in Philadelphia., A British soldier who fought in the Battle of Waterloo as an aide-de-camp to the Duke of Wellington, Hoffy immigrated to New York City in the mid-1830s, where he worked as an artist and lithographer in collaboration with British lithographer J.T. Bowen at 59 Cedar Street. Together with John Elliott they produced the portrait "Eng-Chang" depicting the "Siamese twins" in New York in 1837. Both Hoffy and Bowen relocated to Philadelphia ca. 1838, where in 1839, advertisements for Hoffy's drawings and lithographs, including "The Robert F. Stockton" and "Sarcophagus brought from Syria," appear in the Philadelphia newspaper "North American." During the 1840s and 1850s, Hoffy's portraiture work often received notice in local newspapers, including his lithographs of Casius M. Clay from a daguerreotype by Plumbe (1846), Abby Kelly Foster from a daguerreotype (1846), General Santa Anna (1847), the Washington family (1857), and Cyrus W. Field (1858)., Hoffy operated his lithographic establishment from several locations in Philadelphia. His first known shop was located at 41 Chestnut Street until 1842. He moved twice the following year, working from 45 Chestnut Street and 173 Arch Street. He operated from 88 Walnut Street 1844-1847; 20 South Third Street 1848-1852; 89 South Fifth Street in 1854; 90 Walnut Street 1855-1856; the southeast corner of Fifth and Vine Streets in 1857; 312 North Front Street in 1858; and at 1534 Vine Street as an artist and publisher by 1860., According to the 1850 and 1860 censuses, Hoffy married Emma Jane Patterson (ca. 1820-1892), a New York native, and had eight children: Martha (b. 1836) and Emma (b. 1838) born in New York; and Alfred A., Jr. (1840-1858), Amanda (b. 1843), Louisa (b. 1843), Adelaide (b. 1845), Adell (b. 1847), and Henry (b. 1850) born in Philadelphia. The family resided in the Chestnut Street Ward in Center City in 1850, and by 1859 had moved north to 1315 Vine Street (Ward 10). In 1861, the family relocated to 1716 Wallace Street, where they lived until 1864 before another change of residency to West Philadelphia where Hoffy resided as a "gentleman" at 3914 Baltimore Avenue for three years. In 1868, Hoffy and his family moved to Brooklyn, New York where he died on March 10, 1872.

: Hofstetter Bros.; Hofstetter Bros., a late 19th-century Philadelphia lithographic firm, was originally established as a blank book manufactory (19 North Tenth Street) ca. 1874 by bookbinders and brothers John (b. ca. 1849-1921) and August (b. ca. 1853) Hofstetter. By the mid 1880s, the firm printed lithographs, including sheet music, and by the late 1880s, John had left the business and older brother George (b. 1847), a metal worker entered into the partnership. The firm also printed labels, advertising posters, and books illustrations. The firm remained active until 1949 despite an 1891 fire that cost their establishment at 723 Vine Street $30,000 in stock. Following the fire, they relocated to 508 and 510 Cherry Street., Born in Germany, the brothers resided in Philadelphia by 1870, with their mother Christiana (b. ca. 1820) at 1013 Wallace Street. August was also a member of the Ancient Order of the United Workmen and his son August , Jr. (b. ca. 1885) was a salesman at the Hofstetter printing house. In addition, John was the father of respected Philadelphia artist William Hofstetter (1883-1970) who also worked as a lithographer, presumably at Hofstetter Bros. early in his career.

: Hohenstein, Anton; Anton Hohenstein, born November 1, 1819 in Württemberg, Germany, was an artist and oil painter of portraits and historical scenes with a studio at 329 North Sixth Street in Philadelphia between 1855 and 1870. Son of poverty-striken weaver Alois Hohenstein (1781-1843) and Maria Eva Fischer (1781-1852), Hohenstein apprenticed as a lithographer, probably in Stuttgart, and was a student of the Bavarian Academy of Fine Arts in Munich from April 13, 1841 to circa 1845. He studied lithography and painting. According to the reminiscences of colleague Ferdinand Moras, Hohenstein arrived in Philadelphia in 1850 and predominately worked as a portrait painter before relocating to Alabama. Hohenstein returned to Philadelphia by 1860 and from 1868 to 1869, delineated "Abraham Lincoln's Last Reception," "Baptism of Pocahontas 1813," and "Franklin's Reception at the Court of France 1778" for lithographer John Smith. He also created the 1867 portrait of Robert E. Lee for George Spohni and owned "first rate battle scenes" (possibly his own work) according to an 1870 advertisement promoting the sale of his estate in the "Public Ledger.", Hohenstein immigrated to the United States apparently previous to his family as indicated by the May 1854 application by his wife Dorothea (Dorothy) (b. ca. 1827) listed in the Württemberg, Germany Emigration Index. Dorothea, whom he married on November 23, 1846 in Wuttemberg, arrived in Philadelphia from Stuttgart by about 1855, the year she gave birth to their first Pennsylvania-born child. By 1860, Hohenstein, his wife and their children (including two born in Germany) resided at 1469 Franklin Street (Ward 13). That year, Hohenstein declared his intent to become a citizen and on October 13, 1863 was naturalized. Hohenstein died of delirium tremors on July 20, 1869 leaving five children and his wife who worked as a confectioner according to the 1870 census.

: Hohl, August; August Hohl, a German lithographer, druggist, and amateur archaeologist and artifact collector, was born on April 9, 1845, immigrated to the United States in January 1848, and settled in Philadelphia. By 1860 he resided in the boarding house of Philip Hohl at 431 Callowhill Street (Ward 12) and worked as a lithographer. He left Philadelphia and enlisted as a musician in Company C, Regiment 29 of the New York Infantry in the spring of 1861 and was mustered out in 1863. By 1867 Hohl returned to Philadelphia, found employment as a clerk and druggist, and resided once again in Philip Hohl's hotel at 429-431 Callowhill Street. By 1874 he set up his own drug store at the northeast corner of Fourth Street and Girard Avenue, where he exhibited relics and curiosities from his travels abroad, including a piece of blue marble from the tomb of St. Luke at Ephesus, pebbles from the banks of the Jordan River and the Dead Sea, and other items found during excursions through Jerusalem, Egypt, Europe, and the Mediterranean. Hohl remained at Fourth and Girard until the end of the century. He married Julia A. S. Burr (1846-1899) and resided in the same property as his shop. A member of the Athelstan Lodge, No. 482, A.G.M. Kensington Chapter No. 233, Anna M. Ross Post, No. 94 G.A.R. Veteran Association, German Society, Philadelphia Turngemeinde, and the Quaker City Tourist Club, Hohl passed away on November 30, 1908 and was buried in Monument Cemetery.

: Hohl, Otto; Otto Hohl, born January 1858 in Pennsylvania to German parents, worked as a lithographer, printer, and painter in Philadelphia from the mid-1870s until the late 1920s. His brother August also worked briefly as a lithographer before the war, but later operated a drug store for most of his life., Hohl resided in his father's household, a hotel and tavern, at 429-431 Callowhill Street (Ward 12) until he married Sallie Hunter (b. ca. 1862) and lived with her family on Township Line Road in the Falls of the Schuylkill area by 1880. By 1900, Otto and Sallie resided with three children at 2639 Arizona Street in Ward 28. They relocated within the same ward to 2340 North Twenty-fifth Street by 1910, at which time Otto worked as a lithographer for a factory. The 1926 city directory lists Hohl as a lithographer living at 2335 Lehigh Avenue.

: Holler, Peter; Peter Holler delineated the lithograph of General David R. Porter, Governor of Pennsylvania (copied from a similar portrait created by Augustus Kollner in Volume 3 of Huddy and Duval's "U. S. Military Magazine (1841)") printed by P. S. Duval. Holler's lithograph was later issued as a sheet music cover, "Governor Porter's (Grand) March," published by George Willig., Holler/Heller is possibly the Peter Keller listed in the 1860 Philadelphia city directory as a painter at 1339 Mervine Street as well as the Peter Keller/Heller, born 1810-1815 listed in the 1850 and 1860 censuses. He resided in Ward 20 and was married to Margaret (b. ca. 1815).

: +Tradecards-Hoover-1975-F-453.jpg; Joseph Hoover, born of Swiss-German heritage in Baltimore on December 29, 1830 was the most prolific Philadelphia chromolithographer of parlor prints during the late 19th century. Educated through the public school system of Baltimore and trained as an architectural wood turner, Hoover settled in Philadelphia in 1856. He opened a wood turning and framing establishment on the 1400 block of Hamilton Street, and about 1858, married his first wife Roseanna (b. ca. 1833)., Hoover continued in his wood turning business, including a partnership with R. B. Antrim at 1204 Noble Street (1861-1863), until 1865 when his business evolved into a picture framing factory and wholesale print depot at 108 South Eighth Street. From the mid 1860s, Hoover began to issue parlor prints, including presidential family portraits "dedicated to the people of the United States" for Lincoln (ca. 1865) and Grant (ca. 1866)., In the spring of 1868 the "chromo and print publisher" advertised his removal to 804 Market Street, from where he oversaw the work of Duval & Hunter and James Queen and issued his well-advertised and acclaimed "The Changed Cross" in 1870. Also around this time, Hoover relocated residences twice following his departure from his long-term address of 630 North Tenth Street before settling at 619 North Tenth Street, where he resided until 1903., During the 1870s and 1880s, Hoover's business continued to grow (estimated worth of $30,000-$40,000) and he established printing plants at 450-452 North Thirteenth Street and 1302-1308 Buttonwood Street (ca. 1876) and operated depots at 804 Market Street (1869-1871); 1117 Chestnut Street (1872-1873); 1129 Chestnut Street (1873-1878) and 628 Arch Street (1880-1882). With this financial success also came professional acknowledgment and Hoover was one of only three chromolithographers to be honored at the Centennial Exhibition of 1876. In 1882, Hoover gave up his retail business following a large auction of his stock and focused on the wholesale branch of his business at his plant on Buttonwood Street., Firmly established as a respected chromo printer, and often soliciting for agents, Hoover printed a variety of chromolithographs. Influenced by the "tastes of the masses," genre and landscape views and commemorative prints, including "Heroes of the Colored Race" (1881) predominated, in addition to advertisements such as for "The Celebrated Blasius Pianos" (ca. 1885). By 1893, Hoover was noted as "probably the largest publisher of pictures" distributing internationally 600,000 to 700,000 prints a year with his son, trained lithographer Henry L. (b. ca. 1866) overseeing the practical operations., Within two years of this acknowledgment, Joseph relocated his home to Elkins Park, Pa. after one year residency in Ashbourne and partnered with son Henry L. In 1904 son Joseph W. entered the business, which was reestablished as Jos. Hoover & Sons., Hoover died of heart disease at his summer home in Atlantic City on August 7, 1913 with funeral services held at the city's Holy Spirit Catholic Church. At his death, he was survived by his second wife Evelina (married by 1880) and six children; four daughters and business associates Henry L. and Joseph W., The firm Jos. Hoover & Sons remained in operation until around 1985, producing racy pin-up calendars from the 1930s to 1950s.

: Huddy & Duval; Huddy and Duval, the partnership between Philadelphia lithographers William M. Huddy and Peter S. Duval was active 1839-1843. The lithographers partnered in 1839 to publish the "U. S. Military Magazine," a monthly magazine devoted to the activities of Philadelphia's volunteer militia groups. Each issue included an illustration of a member wearing a militia uniform, most of which were drawn by Huddy, lithographed by Alfred Hoffy, and printed by Duval. Huddy & Duval was located at 7 Bank Alley, the location of Duval's establishment from 1840-1843.

: Huddy, William M.; William Massey Huddy, born on May 5, 1807 in Philadelphia, was the city's premier military artist, lithographer, publisher and editor in the late 1830s and early 1840s. Known primarily as the senior partner of Huddy & Duval, the firm which published and illustrated "The United States Military Magazine" (1839-1842), Huddy also created miniatures, engravings, and paintings for fraternal clubs, jewelers, and fire and military organizations from ca. 1825 until his death in 1846., Born to merchant Hunlock Huddy (1776-1825) and Eliza Massey (b. 1867), Huddy was educated at Mrs. Carson's Seminary and later in 1820 at Thomas D. Watson's Dietical Seminary (73 Pine Street), where he strengthened his drawing skills. During the 1820s, he joined the United States Fire Company and in 1827 began his lifelong involvement with volunteer military organizations when he joined the Philadelphia Grays. After the Grays' dissolution in 1829, he served with the National Greys. During this time, he resided with his mother and brothers at 269 South Front Street until he married Mary Ann Hickey (1811-1887) in 1833 and moved to a shop with residence at 85 Bilwyn (i.e., Dillwyn or Kunkle) Street in Northern Liberties. Following a fire at the shop in 1837, Huddy and his wife resided briefly with his mother at 60 Old York Road. They subsequently moved to 84 Noble Street, where 1835 city directories listed him as a "gold chaser." Four years later the Noble Street address appeared on the title page of the first issue of the "Military Magazine" published by Huddy & Duval., From Huddy & Duval's offices at 7 Bank Alley (Duval's business address since 1835), Huddy was engaged primarily with the business and editorial responsibilities of the subscription magazine while P. S. Duval created the lithographic illustrations depicting officers in detailed and accurate representations of militia uniforms and scenes of camp life. The magazine and partnership ceased operations in 1842, according to the Garrett biography, for a variety of reasons, including financial issues from unpaid subscriptions and the destruction of many of the magazine's plates in a fire that originated over the offices of Huddy & Duval in 1842., After the partnership with Duval, Huddy served as Aide-de-Camp of the City of Philadelphia and continued to experiment with lithography. His lithographic work included a sylvan landscape view signed "1st attempt at lithography"; "Camp De Kalb, Pottsville, Pa." (1843); a proof sheet of four Biblical scenes (1844); a lithographic proof for the Boon Light Infantry of St. Louis, Missouri; and a lithograph depicting a "volunteer fireman carrying an unconscious maiden from a conflagration.", In 1844, Huddy moved to Ninth and Wallace Streets from Noble Street and suffered his first heart attack the following fall. He passed away, childless, after a second heart attack on November 2, 1846. His widow Mary Ann resided with his brother Benjamin Huddy's family until her death in 1887.

: LCP-Hunter-Am1875Key-19263-D-2-162.jpg; Thomas Hunter, born ca. 1828 in Ireland, worked as a lithographer in Philadelphia from ca. 1868 to ca. 1894, including the partnership Duval & Hunter (ca. 1869-1874). Immigrating to Pennsylvania by 1831, Hunter worked as a manufacturer and resided with his parents and Philadelphia-born siblings, including brother Charles (b. ca. 1833), a calico printer, in Blockley in 1850. By 1860 Hunter entered his brother's trade and was listed as a mast calico printer in the census, married to Julia (b. ca. 1832), with three children and two servants. The family resided in West Philadelphia near the family of his brother James (b. ca. 1825), also a calico printer. Hunter remained a resident of Hestonville, West Philadelphia when he entered the lithography trade in 1868. Soon thereafter, he partnered with Stephen C. Duval, son of P. S. Duval, in the firm Duval & Hunter (223 South Fifth Street, 716 Filbert)., Hunter continued to head a well-to-do household and manage a successful business with his switch in trades. In 1870, he still retained a servant and in 1874 won an American Manufacturer Exhibition silver medal; assumed the business of partner Duval; and printed the noted "Portraits and Autograph Signatures of the Framers and Signers of The Declaration of Independence, Philadelphia, July 4th, 1776 published by the Centennial Portrait and Autograph Co., Philadelphia. According to credit reports which previously rated the business of Duval & Hunter an excellent one, the sole proprietorship by Hunter "rendered the house stronger in the opinion of the trade." Hunter's brothers James and John, calico printers, supplied much of the capital for the establishment estimated to perform $100,000 worth of business a year., Two years after assuming sole proprietorship of the lithographic firm, Hunter served as one of the few Philadelphia publishers of Centennial Exhibition of 1876 views (copyrighted by the Centennial Board of Finance) depicting the buildings and grounds of the fair. Cited in the "Printer's Weekly" as a "first-class lithographer" for his "artistic excellencies of coloring and drawing" of the prints, Hunter also used the journal to advertise his business in 1878 as the "oldest lithographic establishment in the country;" capitalizing on the legacy of his former partner. Between ca. 1878 and 1881, Hunter issued another significant series of views when he printed a series of panoramas, predominately after W. W. Denslow, showing the several county seats of Pennsylvania. During the early 1880s, Hunter also produced photolithographs as well as sheet music covers before handing over the management of his debt-riddled firm (still owned by his brothers) to William H. Butler, formerly of Packard & Butler, in 1885. In January 1886, the "Hunter" establishment suffered a business-ending fire with Butler having paid off near 2/3 of the debt owed by the firm to its local suppliers., By 1880, Hunter continued to reside with his family, including sons and lithographers James (b. ca. 1856) and Owen (b. ca. 1861) as well as a servant in Hestonville at North Fifty-Fifth Street and Lancaster Avenue. Following the disposition of his business to Butler, Hunter remained listed as a lithographer in city directories until 1894. Throughout the early 1890s, he was listed with a variety of addresses, including 803 North Forty-First Street, 626 North Fortieth Street, and 3324 Lancaster Avenue. Hunter remained listed until 1894 and his probable death., Hunter was also a member of the Supreme Grand Orange Lodge of the United States, in which he served on the Committee of Finance during the Centennial as well as active in the opposition to the 1877 tariff to abolish the duty on books.

: Ibbotson, Harvey J.; Harvey J. Ibbotson, born of Jewish descent ca. 1818 in England, worked as a lithographic artist in Philadelphia and Boston ca. 1850-ca. 1870. Ibbotson immigrated to the United States before 1846 and worked as a merchant in Philadelphia 1846-1848. Listed in the 1850 census as a resident of Boston, Ibbotson was also listed in the 1850 Philadelphia City Directory as a lithographer residing at Marshall above Fourth Street. Before Ibbotson relocated permanently to Philadelphia, he designed prints for J. H. Bufford & Co. of Boston 1850-ca. 1856., As of the late 1850s, Ibbotson appeared steadily in Philadelphia city directories, at a variety of Center City addresses, including 432 South Fifth Street (1856); 349 South Third Street (1857); and 311 Walnut Street, the lithographic establishment of William Boell (1859). During this period, Ibbotson also partnered with James Queen on advertisements and views, including the "Delaware Water Gap" printed ca. 1856. By 1861 Ibbotson designed lithographs for premier lithographer Thomas Sinclair, including a number of city and landscape views. In 1870, Ibbotson remained listed in the census as a lithographic artist and in 1880 as an artist., Ibbotson resided in South Philadelphia and Center City between the 1850s and 1870s and at 935 Morris Street (including his studio) by 1875. Married to the Irish-born Josephine by the early 1860s, Ibbotson had six children, including one-year old Charles, by the time of his death on August 1, 1880. Ibbotson was also a member of Shekinah Lodge Ancient York Masons and Myrtle Wreath Lodge, Knights of Pythias.

: Ibbotson, James; James Ibbotson, born ca. 1828 in England, worked as a lithographer in Philadelphia in 1849. Probably a relative of lithographer Havey J. Ibbotson, James relocated to Boston by 1850, where he worked for B. W. Thayer & Co. He was also an oil painter., By 1850, Ibbotson was married to New Jersey-born Cornelia (b. ca. 1831 ) with whom he had one son, Wilfred (b. ca. 1821), born in Pennsylvania.

: Inger, Christian; Christian Inger, born ca. 1814 in Germany, worked as a lithographic artist in Philadelphia, 1854 - ca. 1895. Inger arrived in the United States at the port of New York with a five-year-old Charles Inger (his relationship undetermined) on the ship "City of Washington" on August 15, 1854 and soon thereafter settled in Philadelphia., Beginning in the mid 1850s, Inger worked predominately with P. S. Duval, creating the early chromolithograph "Hoskins, Hieskell & Co. Importers & Jobbers of Fancy and Staple Dry Goods" (ca. 1854) designed with fellow artist and lithographer Louis Haugg. Inger continued in the employ of Duval to the mid 1860s, when the prominent printer wrote in an August 1864 letter to lithographic artist Albert Newsam, "Mr. Inger is also with us but has not so much to do. Great many artists and printers have gone to the war. Business had been very brisk for several months past but it is very slack now, there is scarcely anything to do.", Between the 1850s and 1870s, Inger also delineated lithographs printed by the prominent firms Herline & Hensel and Thomas Sinclair as well as in 1859, with his son Egmont, operated Inger & Son at 429 Walnut Street. During this era, Inger's works included portraits, painted art reproductions, especially Revolutionary and Civil War scenes, and bird's eye views of the 1876 Centennial Exhibition, including the impressive "Birds eye view of Fairmount Park, Philadelphia, with the buildings of the International Exhibition 1876" printed by Thomas Hunter, and published by Inger & Hensel (905 Market Street). Inger continued in the trade until the mid-1890s. His name last appears in the Philadelphia city directories in 1895., Inger was in Philadelphia by 1854, the year he married a younger Philadelphia woman Jane (b. ca. 1835). They resided north of Center City in Ward 14 by 1860 with two young children, Ida (b. 1856) and Albert (1858-1862). In the 1870s, Inger resided on Ogden Street (Ward 14), where four more children were born. By 1880, he had moved farther north to 1803 North Twenty-first Street (Ward 29), where his widowed daughter Ida Starr returned with her son, George (b. ca. 1873), to reside with her parents and siblings. By 1895, possibly the year of his death, Inger resided at 2323 Sharswood Street (Ward 29).

: Inger, Egmont; Egmont Inger, son and partner of lithographer Christian Inger, was born ca. 1833 in Germany. Although he did not immigrate to the U.S. on the same ship as his father in 1854, Inger resided in Philadelphia by 1854 when he went before the city's Court of Common Pleas to become a naturalized citizen on April 11. Inger partnered with his father to operate Inger & Son at 123 South Third Street and 429 Walnut Street in 1859. By 1869, he worked in New York City, where he patented a "sad-iron holder" that year, and in 1871, worked as an engraver and lithographer with Charles Inger (family relationship undetermined) at 45 Chatham Street. He remained in New York until at least the mid-1880s; a New York City directory indicates that Inger lived at 515 1/2 Pearl Street in 1884., In Philadelphia, Inger resided in Northern Liberties and had three daughters: Anna (b. 1860), Flora (b. 1862) and Rosa (b. 1864). The family moved to Hoboken, New Jersey by July 1870.

: LOC-Inman.jpg; Henry Inman, born in Utica, New York on October 28, 1801, was a renown portrait painter who practiced lithography as a partner in the premier Philadelphia firm Childs & Inman with engraver and lithographer Cephas G. Childs 1830-1833. In his formative years, Inman served as an apprentice to painter John Wesley Jarvis in New York City. In the early 1820s, he traveled with him to New Orleans and in 1822 they established a short-lived business in Boston. Inman eventually opened his own studio in New York City in 1824, as well as was a founding member of the National Academy of Design and a director of the Pennsylvania Academy of the Fine Arts (1834)., At the end of 1830, Inman entered the partnership Childs & Inman, initially as a business agent and artist from New York before he relocated to Philadelphia in 1832. Inman was to add artistic cachet to the firm established by Childs (formerly Pendleton, Kearny and Childs) as well as garner painting commissions for himself. He left the firm in 1833 to focus on his painting and returned to New York by 1835., During his time in the lithographic trade in Philadelphia, Inman resided with his family on an estate in Mount Holly, New Jersey. He returned to New York City after only a few years in Philadelphia in the fall of 1834. A lifetime sufferer of asthma, he fell ill in the 1840s and passed away on January 17, 1846, a few months after returning from working in Europe.

: James F. Hey & Co.; James F. Hey & Co., owned by James F. Hey (1859-1917) and his English father, John Hey (1831-1902), published lithographic sheet music in Philadelphia in the 1880s., John Hey, born about 1831 in England, worked as a wholesale rag dealer in 1870, but by the early 1880s, partly owned both the lithography firm of James F. Hey & Co., 308 Master Street, and three branches of the paper stock business, John Hey & Co. located at 233 North Front Street, 1401 Germantown Avenue, and 321 Master Street. By the late 1880s, John and James had returned to the rag business with a shop at 315 Master Street., While in Philadelphia, the Hey family resided in Ward 17 in 1870 and Ward 29 until about 1895, when they relocated to Kansas City, Missouri, and operated the Hey Rag and Metal Company. John passed away on April 14, 1898, and James remained in Kansas City until his death on June 2, 1917. Both were buried in Laurel Hill Cemetery in Philadelphia.

: Johnson, James; James Johnson, born in Ireland ca. 1834, worked as a lithographer in Philadelphia in 1860. He resided in Center City (Ward 8) with his wife, Maria (b. ca. 1836), and their Pennsylvania-born daughter, Susan (b. ca. 1859).

: LCP-Jones-SpecimenAlbum-P-9349.jpg; Alfred T. Jones, lithographic printer, newspaper editor, and prominent member of the Philadelphia Jewish community, was born July 4, 1822 in Boston, Ma. Originally in pursuit of a career in the mercantile trade, Jones relocated to Philadelphia ca. 1842, before entering into partnership ca. 1859 with Rudolph Stein in the lithographic and printing business Stein & Jones at 312 Chestnut Street., For the next ten years Jones remained in the partnership, which specialized in trade cards and continued and furthered his activities in the Masonic Order and philanthropic Jewish organizations. Jones not only served as a Master and secretary of the Shekinah Lodge, but also acted as a manager, secretary, president and/or board member of several Jewish benevolent institutions and associations, including B'nai B'rith, Jewish Foster Home, and Covenant Hall Association., In 1869, Jones partnered in a photographic studio with John Gihon until 1871 when the death of his former partner Stein led him back to the printing industry. Jones, with new partner Theodore Potsdamer, resumed operations of the printing establishment ca. 1872-1873 under the name Jones & Potsdamer. By 1875, Jones left the lithography trade and established the weekly "Jewish Record" for which he served as editor until its demise in 1886., In his later years, Jones continued his philanthropic work, particularly with the Association of Jewish Immigrants until his death on October 3, 1888, at his residence of many years at 1303 Marshall Street. His funeral sermon was delivered by the Rev. Sabato Morais and he was buried at the 55th Street Cemetery of Mikveh Israel (formerly of Congregation Beth El Emeth). Jones was married to Jessica (ca. 1823-1894), with whom he had four children, Rebecca (ca. 1856-1894), Andrew (b. ca. 1849), Ida (b. ca. 1854), and Frank (b. ca. 1857).

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