Collection of 5,462 lyric sheets, also known as slip ballads, published in the 19th century and offered for sale by stationers, street-corner vendors, and by catalog through the mail.
Ephemera related to Philadelphia area institutions including announcements, trade cards, programs, receipts, tickets, religious tracts, circulars, ballots, certificates, and newspaper clippings.
Collection of nearly 3,000 stereographs published and distributed in or of Philadelphia. The photographs mainly portray commercial and residential street scenes, particularly Market and Chestnut streets; religious, public, financial, and industrial buildings and institutions; and historic and prominent landmarks as well as a small selection of non-Philadelphia views.
In June of '63, I suppose you all know (7 vs.) Air—While everything is lovely, and the Goose hangs high. Written by G. P. Hardwick; sold by G. P. Hardwick (2); cop: 1863, Mrs. G. P. Hardwick, DCD.C. Letter paper; red ink; single-line border with flowered
Henry J[ulius] Toudy, born about 1837 in Pennsylvania, worked as a lithographer in Richmond, Virginia by 1860 before establishing the firm H. J. Toudy & Company in Philadelphia following the Civil War. After a devastating fire in 1878 causing the termination of his company, Toudy moved to Shamokin, Pennsylvania where he worked as a coal operator. He returned to Philadelphia about 1884, first working as a coal agent and then switching to publishing from 1886 until 1891. He retired that year when he obtained an invalid pension for his Civil War service in the Pennsylvania Calvary, including the rank of Lieutenant in Rush's Lancers (1864). Toudy died while a resident of 2149 Narona Street on October 23, 1899 in Philadelphia. He was buried at West Laurel Hill Cemetery. Toudy was married to Alida (b. ca. 1842) with whom he had two children Marian (b. ca. 1872) and Henry (b. ca. 1875).
Date
ca. 1837 - October 23, 1899
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
To our kind friends and patrons, this day we appear (10 vs., and 7 vs. and chor.) Headed: "1851. Christmas. 1851."; list of police stations below; print. King and Baird (!)¦ T. o. border, with arched top, incorporating eagle, seals, portraits, figures and C
There's a game much in fashion—/ think it's called euchre (7 vs.) Sheet no. 991; From the Phunny Phellow; by John G. Saxe; publ. Partridge (5). T. o. border. 20.7 x 14.9 cm.
Block numbered in three places: 7864., Image of a falcon [?] perched on a rock in a natural setting. In the distant background, numerous birds are in flight.
Sample image scanned from: Wolf 995c, One of 297 song sheet headpiece designs identified by Edwin Wolf in his bibliography, American Song Sheets, Slip Ballads and Poetical Broadsides Collection, 1850-1870: A Catalogue of the Collection of the Library Company of Philadelphia (Philadelphia: Library Company of Philadelphia, 1963).
Johnny Schmoker, Johnny Schmoker (65 lines), Variant: a. With 59 lines; publ. Auner (5); [with SECESSIA LAND on verso.] A-J border. 23 x 14.9 cm., Variant: b. With narrative beginning: "In this song, an old German musician tells his friend, Johnny Schmoker"; publ. De Marsan (3). De Marsan comic heads border. 25 x 16.5 cm., Variant: c. Long lines; sheet no. 812; publ. Partridge (6). T. o. border. 22.9 x 16.9 cm.
It's all of a Rich Country gal that I know (5 vs.), Variant: a. Air: Vilikins and Dinah; publ. De Marsan (4). De Marsan musical instruments border, col. 24 x 16 cm., Variant: b. Air: Vilikins and Dinah; sheet no. 358; publ. Wrigley (1). Wrigley horned imp border, col. 23.4 x 15.2 cm., Variant: c. Tune.—Villikins and Dinah. Triple-lined border with corner fleurons. 18.5 x 11.5 cm. (cropped)
The valentine depicts a man in a sailor's uniform holding a glass in one hand and a "greenback," or a paper dollar bill, in the other. The sender rejects the recipient because of his promiscuity and drinking, which it connects with his love of money, specifically paper currency., Text: Loves nothing as well as a good greenback / Except it be his grog: / And the first he'll waste on the sauciest back, / On the second get drunk as a hog / Alack, Jolly Jack! / Why can't you leave off both women and wine? / Then I'd give you a kiss full of true love's bliss, / And ever call you my own Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Now, friends, I beg you listen, a sad story I will tell (7 vs.) Air—California Brothers., Variant: a. "Ellsworth" in square caps; publ. Auner (3). A-J border. 23.5 x 15 cm., Variant: b. "Ellsworth" in scroll caps; [publ. Johnson, with imprint cropped off.] A-J border. 20.2 x 13.5 cm., Variant: c. By Wm. Sutherland; with "Colonel" added to title; publ. Johnson (2); adv: Union Badges, Letters, etc.
Meet me by moonlight alone (2 vs.), Variant: a. 2nd song: "How Dear to Me the Hour!"; publ. De Marsan (4). De Marsan ship border, with war scenes in lower corners. 24.6 x 16.3 cm., Variant: b. [As above;] De Marsan comic heads border. 25.3 x 16.8 cm.
Block numbered in two places: 9021, also 1460 on small adhesive label on back of block., Image of a woman and a girl indoors; the woman enters from or stands in front of a doorway, and places her hand on the girl’s shoulder; the girl sits at a desk with her hands clasped and two or three closed books in front of her; the room’s carpet has a circular design, and the walls have crown molding, suggesting that it may be an elaborate or well-furnished room; two large paintings hang on the walls., Back of block partially obscured by pasted-down paper.
The singer holds a sheet of music and his hand to his heart. Jullien refers to French conductor Louis Antoine Jullien. The sender mocks the recipient's poor singing., Text: No one would take you for a Jullien, Sir, / For such croaking never was heard, / Whenever I hear you it reminds me of---/ A carpenter sawing a board., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Block numbered in two places: 7903, also 1901 on small adhesive label on back of block., Image of a map including the regions labeled Persia, Parthia, Media, Elam, Assyria, Media, and Armenia.
Block numbered in two places: 3898, also 172 on small adhesive label on back of block., Image of two girls and a boy; the younger girl reaches up toward the older girl, who points or extends her hand toward the boy; the boy extends a ball in his hand; a small racket or paddle lies on the ground.
John F. Francis, premier portrait and still-life painter born August 13, 1808 in Philadelphia served as the artist for the noted portrait lithograph of Gov. Joseph Ritner lithographed by Albert Newsam and printed by P. S. Duval in 1838., Francis spent the early part of his career as an itinerant portrait painter in Schuylkill County, PA before settling as a portrait and still-life painter in Philadelphia ca. 1838. In 1840, he was listed as a portrait painter in the Northern Liberties Ward and by 1860 had relocated to Upper Providence, Pa. where he remained as of 1870. During this decade, he held $5,000-$7,000 worth of personal estate (i.e., over $100, 000 in 2008). From 1840 to after 1858, he exhibited his portraits and still lifes at the Pennsylvania Academy of the Fine Arts and at Artist's Fund Society exhibitions and sold his work through the American Art Union. He produced little art work during the 1870s and 1880s and died a recluse on November 15, 1886.
Date
August 13, 1808-November 15, 1886
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Hark! in the South the thundering drum (5 vs.) [Signed] B.; Baltimore, Oct. 9th, 1861; 2nd song: Southern Sentiments., Variant: a. Double-line border; soldier on horse blowing trumpet. 30.6 x 9.2 cm., Variant: b. [As above;] pink paper. 30.6 x 9.2 cm.
I'd offer thee this hand of mine (3 vs.), Variant: a. With "Of Mine" in title; publ. De Marsan (4). De Marsan comic heads border. 25.4 x 15.5 cm., Variant: ab. Publ. Johnson (2). A-J border. 17 x 12.5 cm. (cropped), Variant: b. Publ. Magnus (1). Letter paper; single-line border; bronze ink; hdpc. Magnus 248b, col. 20.5 x 12.5 cm.
Miss Nicholls lodged on the first floor (7 vs.), Variant: a. As sung by Frank Lum, the celebrated comic vocalist; publ. De Marsan (4). De Marsan comic heads border. 24.6 x 16.9 cm., Variant: b. Sheet no. 968; publ. Wrigley (1). Wrigley moon border. 25.6 x 15.6 cm.
Image: A clergyman stands at a lectern and looks down at the bible resting on top. A devil figure stands behind the clergyman and points to scripture he wants the clergyman to read., Verse 110: An eminent southern clergyman, during an eloquent discourse, is wonderfully assisted in finding scriptural authority for Secession and Treason, and the divine ordination of Slavery., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
The stonecutter holds a mallet and chisel and stands in front of a large slab of stone which the text suggests is a sarcophagus. He sticks out his tongue and has sharp teeth., Text: What a sweet face is here display'd -- / To charm a young girl, a widow or maid, / Oh! St. Valentine, run away quick, / From this beauteous visage, that makes one sick. / Hammer away! my cutter of stones, / Be they for living or dead men's bones; / Ply the mallet and chisel-- look grim, / What will it matter for her or for him., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Be- hold him now creeping on the carpeted floor (5 vs. and chors.) Air.—Viliken's And Dinah. Sheet no. 417; publ. Wrigley (1). Wrigley horned imp border, col. 23 x 15.4 cm.
Image: Depicts a mother pelican feeding her young in the Louisiana state seal. Above the scene are scales of "Justice" and sixteen stars., Caption: Arms of Louisiana. Rebels., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
Image: A smiling Quaker woman holds a bayonet and takes a hat from a tall man who leans on his cane., Verse 678: Friend Jane - I have bought thee a Staff and Hat, which I hope will prove serviceable in these times., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
I have sung about my long tail blue (5 vs. and 2 chors.) Air.—Clar de Kitchen. Print. Andrews; with Astley's imprint added. T. o. border. 24.6 x 15.5 cm.
Block numbered in three places: 873., Image of a Sunday-school building with a teacher surrounded by girls in the doorway, and two boys in the foreground (one holding a book)., Illustration appears in The Design and importance of Sabbath-schools (Philadelphia, not before 1827?), wrapper vignette., Illustration appears in Select poetry, for children (Philadelphia, not before 1845?), p. 11., A similar illustration appears in The sailor's daughter (New York: Sunday-School Union of the Methodist Episcopal Church, 1846), p. 8., Copy 2, stereotype (4.8 x 6.2 x 2.3 cm.), , Provenance:, , Variant:
The valentine shows a woman standing on a city street. She wears a walking dress with short skirt that reveals her crinoline structure, legs, and petticoats. The valentine mocks the recipient's immodest deportment., Text: Oh! Gentle Lady, you know full well, / You care not for mud, but you'd cut a swell-- / A swell you make, if you could see, / You'd be ashamed, as well as we., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
There is a flower that bloometh (2 vs.) Sheet no. 1057; publ. Wrigley (1); [with I'LL TOUCH MY HARP on recto.] Wrigley kissing cupids border. 24.5 x 15.5 cm.
A woman in an ornate gown walks her small black dog., Text: You are my darling; don't I know / Why you are ogling ev'ry beau; / But all in vain, for who would be / Led like a puppy tied to thee., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
George Blicker, born about 1833 in Hanover, Germany worked as a lithographer in Philadelphia in 1860. He resided with his wife, Madeline (b. ca. 1834) and three children, Margaret (b. 1855), Sarah (b. 1857), and Caroline (b. 1859), in Ward 5.
Date
b. ca. 1833
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Now, white folks, all, both great and small, come listen to my song (7 vs. and chor.), Variant: a. As sung by Frank Kern's at the Kossuth Concert Saloon; publ. Auner (3). A-J border. 23.5 x 14 cm., Variant: b. [Without period at end of title;] varying punctuation in first line; publ. Auner (4). A-J border. 21.3 x 12.7 cm., Variant: c. Title: "Hunkey Boy is Yankee Doodle, or, Whack Row De Dow"; varying punctuation in first line; as sung by Frank Moran of Carncross and Dixey's Minstrels and Opera Troupe; publ. Johnson (2); adv: Prof. Brooks' Ball Room Monitor. A-J border. 25.2 x 15 cm.
Far down in the South there lives Jeffy Davis (6 vs.) Air—"Lanagan's Ball." By Mrs. G. P. Hardwick; adv: Soldiers can receive 14 of our beautifully illustrated Ballads by addressing G. P. Hardwick; copyright secured. Letter paper; blue ink; eagle, sailor
Och home! alas! for the sons of ould Erin (9 vs.), Variant: a. Print. Andrews. T. o. border. 23.3 x 14.4 cm., Variant: b. Adv: You will save 25 per cent, by getting your Print- ing done; [print.] Johnson (3). Wavy-line sides, with floral cornerpieces; four men smoking. 22.5 x 14.1 cm.
Benjamin Franklin Smith, Jr., born on August 5, 1830 in South Freedom, Maine, was a noted lithographic artist of bird's eye views, including Philadelphia, in the mid 19th century. Partner in the firm the Smith Brothers, with brothers Francis (1828-1903), George Warren (1825-1922), and David Clifford (1827-1911). Smith, like his brothers, first canvassed for subscriptions of views by New York lithographer Edwin Whitefield, before he and his siblings started their own New York firm in 1849. Between 1850 and 1855, the firm issued nearly 30 views, including two drawn on stone by Benjamin F. showing Philadelphia; "Philadelphia from Camden - 1850" and "Philadelphia from Girard College - 1850." The firm disbanded in 1856 although B. F. Smith issued a lithographic view of Elmira, N.Y. as B. F. Smith, Jr. & Co. (Albany, N.Y.) in 1862., Following his work in the lithographic trade, Smith and his brother Francis entered the Colorado mining business in the late 1850s and later invested in Omaha stockyards. Smith returned to Maine a wealthy man in the 1880s. At his return, he created the Rockport estate "Warrenton Park" and the B. F. Smith Trust, a precedent setting trust in its excellent management of the family funds. He was reputed the richest man in the state by the time of his death in 1927., Smith was married to Henrietta (b. 1840) in 1862 and the couple had two children (son Clifford and daughter Cordelia) living in 1900. The couple resided in "Warrenton Park" with several servants according to the census for that year. Smith's brother Francis also resided at the estate.
Date
August 5, 1830-1927
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Norman Friend, a map lithographer and engraver, born in Denmark about 1814, worked in Philadelphia ca. 1840s-1888. Friend immigrated to the United States in the early 1840s. By 1844, he resided in Philadelphia and began the naturalization process. He was married to Mary (b. ca. 1830) by 1850 and resided most of his professional career on the 100 and 200 block of North Second Street. In 1849, he started his own firm at 141 (i.e. 400 block) Walnut Street, which he removed to 80 (i.e., 332) Walnut Street in 1851 preceding his partnership with Jacob Aub in the firm of Friend & Aub. After Aub's departure in 1860, Friend continued to operate at the address under his own name until his death., Throughout his career, he specialized in map work, beginning with "Sidney's Map of Twelve Miles around New York" (1849) from surveys by James C. Sidney, and the "Map of Philadelphia" published as part of the Philadelphia City Directories of 1849 and 1850. During the 1860s and 1870s, he worked on many of the Midwestern county maps and atlases published by Lewis H. Everts and his various associates (including Duval & Hunter, later Thomas Hunter) bringing standardization to the county atlas format., Friend died of heart disease on February 25, 1888 with the listed residency of 529 Vine Street. He was buried in Ocean Grove, N.J.
Date
1814- February 25, 1888
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Image: Depicts the state seal of Kentucky, which centers around two men clasping their hands together underneath of the motto "United we stand, Divided we fall.", Verse 1189: Kentuckians! Beware of Traitors!, Verse 2603: United we stand, divided we fall., Caption: "If Kentucky to-morrow unfurls the banner of resistance, I never will fight under that banner. I owe a paramount allegiance to the whole Union--a subordinate one to my own State." Henry Clay, Provenance: McAllister, John A. (John Allister), 1822-1896, collector
