Image: Lady Liberty stands with the Union flag, facing right, and leans her right elbow on a circular framed image depicting the Connecticut state seal surrounded by flags and cannons. The state seal depicts three grapevines and a banner with the motto "QUI TRANSTULIT SUSTINET," or "He who transplanted, sustains." On the right hand side of the envelope are large letters with stars spelling out "Union", in front of which is a "Connecticut" banner., Caption: Connecticut / Union / The Loyal States., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
Sample image scanned from: Wolf 2156, 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).
Max Rosenthal, born on November 22, 1833 in Turck, Russian Poland, was a skilled lithographer, mezzotint engraver, and painter who delineated the majority of the chromolithographs for the firm he operated with his brothers Louis N., Morris (i.e., Maurice), and Simon Rosenthal in Philadelphia from 1851-ca. 1872. Trained as an engraver and lithographer in Paris by Martin Thurwanger since the age of thirteen, he arrived in Philadelphia with his master artisan ca. 1849 to work under contract for Duval & Company. After finishing his studies at the Pennsylvania Academy of the Fine Arts, he partnered with his brother Louis N. in the lithographic establishment L. N. Rosenthal also known as Rosenthals at the southeast corner of Third and Dock Streets in 1851. Within the year, the establishment received a "First Premium" award from the Franklin Institute for chromolithography., According to Peters and Marzio, Max operated primarily as the artist, and Louis as the printer, publisher and proprietor of the firm that produced illuminated book plates, sheet music covers, advertisements, labels, geological and anatomical drawings, portraits, maps, and views of buildings. During the Civil War, Rosenthal also issued a series of camp and battle scenes based on views created by Max when he traveled with the Grand Army of the Potomac between 1861 and 1863., In 1857 the Rosenthal firm relocated to a larger space with new equipment at the northwest corner of Fifth and Chestnut Streets. By 1863, the business relocated to 327 Walnut Street, where on September 15, 1872 fire struck and caused severe water damage. Soon thereafter, the Rosenthal firm dissolved after twenty-plus years in Philadelphia and Louis N. relocated to Chicago, while Max remained in Philadelphia., Rosenthal continued to work as an artist and lithographer until the 1910s, often with his son Albert (1863-1939) at 831 Arch Street. Together in 1893 they published etchings on copper of portraits of the Attorneys General of the United States. Later in life, Rosenthal, an instructor for the Art Students Union, experimented more with mezzotint engraving as well as produced oil paintings and watercolors. Outside of the art trade, he was a member of the Historical Society of Pennsylvania., After arriving in Philadelphia ca. 1849, Max resided briefly with his brother Louis in the Penn Ward, and shortly after married Caroline (b. ca. 1841) and moved to Kensington. They had one daughter, Rebecca (b. ca. 1870) by 1860. By 1870, they had relocated to Center City (Ward 7) with six children. By 1880, their household at 537 Spruce Street in Center City included four more children. The 1900 census shows another child was born after 1880 and that Rosenthal was widowed. He resided at 150 North Twentieth Street (Ward 10) at the time of his death on August 8, 1918.
Date
November 22, 1833-August 8, 1918
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Block numbered in one place: 6930., Image of a rooster that appears to be holding another bird in its beak. There are other birds in flight overhead., Back of block partially obscured by pasted-down paper.
Charles Mansure, born ca. 1832 in Bucks County, Pennsylvania, was a Philadelphia lithographer active between 1850 and 1860. He resided in his father Robert's household at 252 Queen Street in Southwark (Ward 4) before relocating to 1330 Juniata (i.e. South Lawrence) Street by 1859. In 1859 he worked with his brothers and lithographers John J. and Robert at 534 Queen Street; the same location as printer John Stimmell., In 1860, Mansure resided at 1330 Juniata Street in South Philadelphia (Ward 1) with his Delaware-born wife Margaret (b. ca. 1836), two Pennsylvania-born children, and his brother-in-law Antoin Lowry (b. ca. 1845). in 1864 Mansure enlisted in the Fifteenth Regiment of the United States Infantry, and upon his return to Philadelphia, worked as a dealer and huckster until he was admitted to the Roseburg Branch soldiers' home in Hampton, Virginia in 1896. He died four years later in Philadelphia on May 29, 1900 and was buried in the Philadelphia Cemetery.
Date
1836-May 29, 1900
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Exterior view of front facade of home on Manheim west of Greene Street. Although the house was owned by Col. Thomas Forrest, one of his daughers lived here with her husband, Samuel Betton, Jr. The octagonal shaped room was built by Dr. Samuel Betton, Jr. Demolished circa 1905., Sheet number: 100B11A., Undivided back., Digitized with funding from a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator
Brightbill, George M., collector.
Date
ca. 1905
Location
Library Company of Philadelphia | Print Department Brightbill postcards [Germantown - Buildings - 100]
View of Centennial grounds with the lake and several buildings, including the Main Building, Machinery Hall, the Pennsylvania State Building, visible. In the foreground is a cart with a tower topped by a flag. Two men on platform at top of tower, one man climbing up the tower, and three seated on the cart.
Your attention I ask for a while (3 vs. and chor.), Variant: a. As sung by Ashcroft; publ. Boyd (2); advs: 10,000 Songs for sale, Boyd's Novel Exchange, and 2,000 Plays for sale. T. o. border. 20.7 x 11.5 cm., Variant: b. [Without "The" in title;] sheet no. 1057; written by Harry Bloodgood; music at Olive [sic] Ditson's and Co.; publ. Partridge (2). T. o. border. 23.3 x 14.4 cm.
I'm a broken-heart butcher-boy (7 vs. and chor.) As sung by Tony Pastor., Variant: a. Print. Auner (5). A-J border. 21.8 x 16 cm., Variant: b. With "broken-hearted" in first line; [publ.] De Marsan (3). De Marsan military cupid border. 25.7 x 16.2 cm., Variant: c. [First line as above;] [publ.] De Marsan (4). De Marsan kissing cupids border. 24 x 16 cm.
Block numbered in two places: 3275., Image of an owl in a natural setting., Illustration appears in The Union spelling book (Philadelphia, 1838), p.11.
A frowning man wears a red waistcoat and a green frock coat. The valentine mocks the recipient for being large and deficient., Text: Believe me when I say I've always thought / That you were simply nothing -- a big naught; / I'd like to know what 't'is you want a wife for, / For she would nothing gain except a cypher., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Image: In the top image, Winfield Scott is depicted as a bulldog who offers the skinny dog, representing Jefferson Davis, a side of beef labeled "Washington." The bottom envelope is Jefferson Davis's response, depicting him as a lion, standing on a boulder that says myriads of men and millions of money. Other emaciated animals are included in the scene, along with a battlefield in the background., Verse 2752: Why don't you take it?, Verse 1159: Jeff's reply to why don't you take it., Caption: Myriads of men, 23,000,000. Millions of money, $1,000,000,000,000. Don't want it now. We want to be let alone., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
Interior view of the Gloucester, Massachusetts Fishery Exhibit in the Agricultural Building. The exhibit displays fishing gear, along with other objects pertaining to the fishing industry including ropes, knives, bottles, and general equipment.
Depicts the playhouse and playground built in 1899 as a country space for city children, erected by Richard and Sarah Smith., Also known as Smith's Memorial Playhouse., Sheet numbers: 81A03 and 81A04., Digitized with funding from a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator
Brightbill, George M., collector.
Date
1910-1920
Location
Library Company of Philadelphia | Print Department Brightbill postcards [Fairmount Park - Mansions and Houses - Miscellaneous - 81]
When the moon with glory brightens (3 vs. and chor.) Words by M. J. Million., Variant: a. Music by P. B. Isaacs; obtained from the Publishers, Firth, Son and Co.; sung nightly, for weeks, with brilliant effect, by C. J. Lockood [sic] of Wood's Minstrels; [publ.] De Marsan (3). De Marsan kissing cupids border. 24.2 x 16.5 cm., Variant: b. Title: "Maiden, Wilt Thou Roam?"; [without Words;] Air: When I saw sweet Nelly home. Letter paper; blue ink; hdpc. Magnus 214, col.; publ. Magnus (1). 20.5 x 12.6 cm., Variant: c. [As above;] sheet no. 1117; publ. Wrigley (1); [with THE OLD HOUSE AT HOME and STRIKE THE HARP GENTLY on verso.] Wrigley kissing cupids border. 24.3 x 15.5 cm., Variant: d. Music by P.B. Isaacs; music obtained from Firth Son and Co.; sung by C.J. Lockwood of Wood's Minstrels; sheet no. 1230. Wrigley Ethiopian border. 22.4 x 15.2 cm.
Having fallen while ice skating, a woman sits on the ice with her crinoline and petticoats revealed. She gestures toward a sign which reads "ice cream." The punning text misconstrues her interest in ice cream as a statement regarding her predicament on the ice. The border shows cupids and hearts; one cupid shoots a heart out of a thimble cannon labeled "Love"; another cupid travels with a heart in a hot-air balloon; and another cupid hammers at a cracked heart below a heart on a fishhook labeled "Caught.", Text: You shiver and howl-- to move you dread, / You're game for all deriders, / Your balance gone and your thin legs spread, / Like a pair of drunk dividers. / "I scream!" you shriek in anguish'd tone, / A more summary plan you require; / Take off your skates and stay at home, / Knit stockings in front of the fire., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The moon had clim'd the highest hill (4 vs.) Sheet no. 306; publ. Wrigley (1); [with THE DRUMMER OF ANTIETAM on recto.] Wrigley horned imp border. 24.7 x 15.7 cm.
Thomas M. Scott was a Philadelphia artist whose cityscape views were printed as lithographs by P.S. Duval in the early 1850s. Known works after Scott, often lithographed by Charles Conrad Kuchel, include "Northern Liberties and Spring Garden Works" (1852); "Tamany Fish House, on the Pea Shore, R. Delaware" (ca. 1852); and "Commissioners Hall, Northern Liberties, Phila." (1853) described in the July 1, 1853 edition of the "Public Ledger" as a "very fine and correct winter scene" by Capt. Thomas M. Scott., Scott may be the Thomas Scott listed in the 1860 Philadelphia city directory as an engraver at Allegheny House (814 Market Street).
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Jeff Davis was a hero bold, you've heard of him, I know (6 vs. and chor.) [By Henry Tucker.], Variant: a. Music obtained at the Music-Store of Wm. A. Pond and Co.; [publ.] De Marsan (3). De Marsan Ethiopian border. 25.5 x 16.3 cm., Variant: b. With period after "Jeff"; sheet no. 1338; music pub- lished by Wm. A. Pond and Co.; publ. Wrigley (1). Wrigley military cupid border. 24.5 x 14.9 cm.
Michael Victor, born ca. 1833 in France, worked as a lithographer in Philadelphia in 1860. He resided in the boarding house of Abraham Koehler with several French-born artisans, including fellow lithographer Michael Rouget in Center City (Ward 5).
Date
b. ca. 1833
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
John Cassin, preeminent U.S. ornithologist, and author of ornithological treatises, born September 6, 1813 near Media, Pennsylvania, was a partner in the Philadelphia lithographic firm Bowen & Co. 1859-1867. Descended from an Irish, Quaker family, Cassin pursued the study of natural science from the time of his primary education at the Westtown School, and in 1842, he was made honorary curator of the Philadelphia Academy of Natural Sciences., A resident of Philadelphia from 1834, Cassin worked as a provisions dealer and custom house officer before entering the lithographic trade ca. 1856 in association with John T. Bowen. Bowen, known for his hand-colored plate work for natural science texts issued Cassin's "Illustrations of the Birds of California, Texas, and British and Russian America" (1856). He also later paid Cassin $5,320 to draw, print and hand color 2,000 copies each of 38 plates of birds brought back from the Pacific Railroad Surveys (a total of 76,000 plates at a cost of 7 cents apiece). Following Bowen's death in 1856, Cassin served as one of the appraisers of his estate and later assumed the Bowen firm with his widow Lavinia as Bowen & Co. in 1858. During his time at Bowen & Co., Cassin produced lithographs for government reports and the firm printed the plates for his jointly-authored "Birds of North America" (1860). Cassin left the lithographic trade in 1867 and died two years later on January 10, 1869. He was buried at Laurel Hill Cemetery., Cassin was married to Hannah (b. ca. 1820) with whom he had two children. He also served on the City Council and was a member of the Academy of Natural Sciences, Zoological Society, the American Philosophical Society, and The Historical Society of Pennsylvania
Date
September 6, 1813-January 10, 1869
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Image: Two upraised Confederate flags flank a profile bust portrait of Jefferson Davis., Verse: Hon. Jefferson Davis, and Alex. Hamilton Stephens, Pres. & Vice-Pres. of the Confederate States of America; inaugurated at Richmond, Va.. February 22, 1862., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
Image: Benjamin Butler and another white soldier face a group of five African American sappers and miners, who have pick axes and shovels propped against their shoulders. Refers to the contraband policy that banned soldiers from returning runaway slaves to their owners once they crossed Union lines., Verse 2653: Volunteers sappers and miners from the F.F.V. [First Families of Virginia] or merchandise contraband of war., Caption: "Massa Butler, we's just seceed from de 'Meen-asses Junction,' and wants to 'list in the counter-band rigiment. We's no great hands at fightin', but we kin run 'most fast as our old massas did toder night, Now, ef you wants any trenches or forti'cations made, WE'S de niggers to call upon in dat ar line." We borro'd des yer tools at de Junction, and gwine to carry em back at de close ob horsetilities., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
Block numbered in two places: 3682., Image of one girl placing her hand on the shoulder of a girl sitting on a bench; the seated girl covers part of her face with one hand; there is a broom leaning on the wall beside the bench.
Image: Depicts horses rearing with soldiers on their backs as shots are fired in their direction. Soldiers fire cannons and march in the background., Verse 169: Battle of Gettysburg, Pa., July 3rd, 1863., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
