The heart bowed down by weight of woe (2 vs. and chors.), Variant: a. Sheet no. 1103; publ. Wrigley (1). Wrigley kissing cupids border. 24 x 15.5 cm., Variant: b. [As above;] Wrigley Ethiopian border. 23.8 x 14.8 cm.
Timothy Abbott Conrad, born June 21, 1803 in Burlington County, New Jersey to a family interested in natural history, was a naturalist, conchologist, paleontologist, author, and artist of lithographic book plates. Educated at Westtown, Conrad drew lithographic plates for natural history works that he authored and include "American Marine Conchology, or Descriptions and Colored Figures of the Shells of the Atlantic Coast" (1831); "Fossil Shells of the Tertiary Formations of North America" (1832); and "New Fresh-water Shells of the United States, with Lithographic Illustrations and a Monograph of the Genus Anculotus of Say" (1832)., Son of Solomon White Conrad (1779-1831), a publisher and printer and professor of botany at the University of Pennsylvania, Conrad worked as a clerk for his father in the 1820s, and upon the elder's death assumed management of the establishment. After a few years, he abandoned the printing business to pursue his natural history studies, and in 1837 he was appointed Geologist of the state of New York. A member of the Academy of the Natural Sciences beginning in 1831 and later the American Philosophical Society, he contributed approximately twenty-two illustrated articles in the 1830s, some to the Academy's journal, and helped to found the Association of American Geologists in 1840., By 1850, he lived with family in the High Street Ward in Center City. Working as a geologist according to the 1860 census, he lived in his brother-in-law's household in Trenton (Ward 3). He returned again to Center City Philadelphia (Ward 9) by 1870. He never married, and according to one biography, was often melancholy, especially in his later years. He passed away in Trenton on August 9, 1877.
Date
June 21, 1803-August 9, 1877
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
George W. Breuker, lithographer, printer, and photographer, was born in Hannover, Germany on September 21, 1834 and emigrated to the United States on the ship Louise Marie from Bremen, Germany in October 1854. By 1855, he worked as a "photographist" and resided with his brother, Frederick, in South Philadelphia on Worth Street above Franklin (i.e., Cross Street above Tasker Street). By 1866, George was a lithographer living in Ward 12 who had worked at the Philadelphia lithographic establishments of Eugene Ketterlinus and Jacob Haehnlen until he formed his own shop, Breuker & Kessler with Harry C. Kessler at Seventh and Chestnut streets in 1866. Breuker remained with the company, which retained good credit throughout the 1870s and 1880s, until his death on June 19, 1896., George was married to Madeline (1834-1891) and had three sons, William G. (b. 1860), George W., Jr. (b. January 1863), and John C. (b. 1865). He resided with his family in Ward 12 of the city until his death. George Jr. was also a lithographer and joined Breuker & Kessler in 1886, eventually serving as Vice President of the firm in the 1910s. His brothers William and John were both photographers in the late 1880s and early 1890s. John C. became a lithographer in the mid-1890s and eventually served as President of Breuker & Kessler in the 1910s.
Date
September 21, 1834-June 19, 1896
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Sample image scanned from: Wolf 2515b, 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).
The twilight hour is stealing (5 vs.) By James Robinson; Respectfully dedicated to Ser- geant Wheeler, U.S.A.; with short explanation ending: ... intended for a companion to Annie Laurie and the same Air; [publ.] De Marsan (1). De Marsan kissing cupids bo
Sample image scanned from: Wolf 58a, 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).
Sample image scanned from: Wolf 1622, 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).
I'm not a wealthy man, but I've hit upon a plan (4 vs. and chor.) Air: Prisoner's Hope. Sung by Harry Richmond; publ. De Marsan (4). De Marsan clown border. 24.3 x 15.5 cm.
Block numbered in two places: 5902., Image of a man talking to two children, a boy and a girl, in an interior setting. The boy appears to be holding a hammer [?] and is handing something to the man., Signed in reverse: Van Ingen-Snyder [i.e. Van Ingen & Snyder], Van Ingen & Snyder, a partnership between William H. Van Ingen and Henry M. Snyder, was active between 1853 and 1871., “Flaw” -- inscribed on back of block., “N.J. Wemmer. 5 Pear St. Phila.” -- Back of block. Nelson J. Wemmer is listed (as an artist) at this address in Philadelphia city directories from 1848 to 1856.
Hurrah for our Union, the birthright of freedom (3 vs.) By Martin Andreas Sarles; publ. Boyd (1); adv: 10,000 Songs for Sale. T. o. border. 24 x 12.2 cm.
We lost way down at Fredericks burg (8 vs.) Respectfully dedicated to John Lorence, who lost both legs, at the Battle of Roanoke Island, North Carolina, February 8th, 1862; cop: 1864, J. Lorence, EDPa. T. o. border; floating hemisphere with motto "Our Cou
Block numbered in two places: 3552, also 1220 on small adhesive label on back of block., Image of a Native-American woman wearing a dress and a long shawl, which she pulls closed with one hand; behind her is a tipi; a pointing man wearing a feather headdress and a seated man or boy are also behind her and regard something in the distance., Illustration appears in History of the Delaware and Iroquois Indians formerly inhabiting the middle states, with various anecdotes, illustrating their manners and customs. (Philadelphia, 1832), frontispiece.
Block numbered in three places: 7796., Image of interior of Independence Hall, Philadelphia; male and female visitors include one black woman. Two decorative rondelles in corners depict a statue of George Washington and the Liberty Bell, flanking an eagle., Signed: Lauderbach, sc.; S [i.e., Seymour?]., Illustration appears in Child's world, v. 33, no. 3 (Feb., 1876?), p. 1.
A hero foremost in the fight (3 vs. and chors.) Tune.—Poor Old Slave., Variant: a. Publ. Auner (5). A-J border. 23.3 x 14.5 cm., Variant: b. By A. Anderson, Philadelphia, October 13th, 1862; composed on the fall of J. W. Greer, 31st Regiment, P. V., at the battle of Malvern Hill, Virginia; Tune vary- ing: "as sung to Poor Old Slave"; print. Harris. T. o. border. 24 x 14 cm., Variant: c. With "Hero" capitalized in first line; By A. Anderson; composed on the fall of Lt. J. W. Greer, 32d Regiment, P. V. at the Battle of Malvern Hill, Virginia. T. o. border. 24 x 14 cm.
I bruk a skull the other day, there upon the green (4 vs. and chors. and 3 mottoes) Air: The Sewing Machine. Sheet no. 1443; As Sung by Wm. Carle ton; publ. Wrigley (1). Wrigley kissing cupids border. 24.5 x 15.1 cm.
I'm a tough true hearted sailor (3 vs. and chor.) As sung by Mr. Charles Swain, at Jenkins' Concert Saloon Seventh and Chestnut Streets. a. Print. Harris. T. o. border; three sailboats. 18.4 x 9.8 cm. b. [As above; with publ. Zieber.] 18.8 x 9.5 cm.
Weep no more. O nobly fallen (3 vs. and chor.) Air: Who will care for Mother now? By Louise Barrows., Variant: a. [Publ.] De Marsan (3). De Marsan kissing cupids border. 25.3 x 17.1 cm., Variant: b. [As above;] De Marsan military cupid border. 25.1 x 15.4 cm.
My love she lives in a two-pair back (5 vs. and chor.) Sung by the celebrated Charles Vivian, at Butler's American Theatre, 472 Broadway, New-York; publ. De Marsan (4). De Marsan fountain border. 24.5 x 16.3 cm.
Good news, Steben -good news (3 vs. and chor.) 2nd song: "Good Old Hut At Home"., Variant: a. Print. Andrews. T. o. border. 24 x 15.5 cm., Variant: b. [As above;] with Astley's imprint pasted over Andrews'. 24.8 x 16 cm., Variant: c. With 2nd song: "Walk in Joe". A-J border. 20.2 x 12.4 cm. (cropped)
Sample image scanned from: Wolf 160b, 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).
Image: On the left hand side of the envelope is a shield with the Stars and Stripes on it as well as Liberty's cap. "Liberty or Death" is printed on a "ribbon" above it. An arrow goes through a "secession" snake beneath the shield. On the right hand side of the envelope are instructions for inserting the envelopes., Caption: John M. Whittemeore & Co., Stationers, No. 114 Washington Street, Boston, 1861., Caption: Haines' Envelope Holder, patent applied for. For holding and preserving illustrated envelopes. Designed by R.P. Haines, Boston., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
Block numbered in two places: 6132., Image of a woman and child walking; woman gestures to a building in the distance., "The Dark Places Frontisp."—Inscribed on side of block., “N.J. Wemmer 215 Pear St. Phila” – Back of block. Boxwood dealer Nelson J. Wemmer is listed at this address in Philadelphia city directories from 1861 to 1876., Side of block partially obscured by pasted-down paper.
I know an eye so softly bright (3 vs. and chors.) Music obtained of Firth, Son and Co., Variant: a. [Without comma after "Near,"] and with period at end of title; publ. Auner (5). A-J border. 23.5 x 14.7 cm., Variant: b. Publ. De Marsan (4). De Marsan ship border, with war scenes in lower corners. 24.8 x 16 cm., Variant: c. [Without comma after "Near"] and with period at end of title; adv: 500 Illustrated Ballads [publ.] Magnus (2). Letter paper; blue ink; hdpc. Magnus 235, col.; publ. Magnus (1). 20.3 x 12.6 cm., Variant: d. With period at end of title; sheet no. 1185; publ. Wrigley (1). Wrigley kissing cupids border. 24 x 15 cm.
Block numbered in two places: 4644., Image of a man in a uniform speaking with a man on a horse; man in uniform gesturing behind himself; house shown in distance., “N.J. Wemmer. 5 Pear St. Phila.” -- Back of block. Nelson J. Wemmer is listed (as an artist) at this address in Philadelphia city directories from 1848 to 1856., Side of block partially obscured by pasted-down paper.
Moravian Gustavus Grunewald, born in 1805 in Germany, was a respected Bethlehem, Pa. art instructor and landscape painter who also briefly practiced lithography. According to Peters, he lithographed an ornately-decorated portrait of Washington, probably issued during the 1830s., Grunewald immigrated to Philadelphia with his family in 1831 and then relocated to Bethlehem where he lived most of his life until returning to Europe in the later 1860s, where he died in 1878 at the Moravian colony of Gnadenberg (Poland). From the 1830s to 1860s, he also exhibited at the Franklin Institute and the Pennsylvania Academy of the Fine Arts as well as designed works sold by the American Art Union.
Date
1805-1878
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
August L. Weise, born in 1834 in Germany, worked as a lithographer and printer in Philadelphia from the mid-1860s to early 1900s. He began his career producing mostly labels, advertising posters and sheet music in Philadelphia ca. 1865 with William Boell at 311 Walnut Street. By 1867, he was one of the proprietors of A. L. Weise & Co., with Herman Pfeil and Louis Haugg, at 29 South Fourth Street. Weise and Haugg remained at this location until 1871 when they relocated to 45 South Fourth Street. In 1876, they relocated to Duval & Hunter's old shop at 401 Ranstead Place, where Stephen C. Duval (b. ca. 1832) remained and managed the newly named "Weise Lithographic Printing House" until 1879, when the business moved to 101 North Sixth Street. Weise's indebtedness to several creditors noted in an R.G. Dun & Co. credit report in October 1877 most likely caused the business to relocate rapidly and with varying partnerships and managers. By 1880, the printing house had moved again, this time to 101 North Sixth Street, where the business ended by July 1883. A member of the Lithographic Printers Union and its translating secretary in 1862, Weise also served as the president of the Philadelphia Turngemeinde by 1890 and was a member of the Humboldt Lodge No. 359 of the Free and Accepted Masons., Weise resided north of Center City (Ward 13) in 1859, the year his Pennsylvania-born daughter Lilly (b. 1859) was born. By 1870, Weise and his German wife Katharine (b. 1836), lived at 418 Vine Street and welcomed four more children into the family: Albert (b. 1861), Clara (b. 1863), Bertha (b. 1865) and Emma (b. 1868). Albert, Clara, and Bertha were all identified as printers in the 1880 census, by which time three more children were born: Ernst (b. 1873), Mary (b. 1875) and William (i.e., Willie, b. 1878). The family resided for many years at 526 Powell (i.e., Delancey) Street, until relocating to 547 North Sixth Street by 1900 when Weise's children Albert, Bertha, and Emma worked as clerks, and William as a lithographer. Weise died on June 25, 1914.
Date
1834-June 25, 1914
Location
Philadelphia on Stone Biographical Dictionary of Lithographers
Image: Depicts soldiers marching in formation with rifles, led by an officer riding a horse. Rows of tents are visible in the background., Caption: Camp Davies, near Upton Hill, VA, 142nd Regt. N.Y. Vols. Col. Roscius W. Judson, Lieut. Col. N. Martin Curtis, Maj. Nolteau G. Axtell., Provenance: McAllister, John A. (John Allister), 1822-1896, collector
A woman hikes up her skirt, revealing her crinoline and petticoats. "Ducky" is a term of endearment, and "kiver" is a dialect for "cover." "Timbers" refers to her legs and suggests that they are indelicately large. The sender mocks the recipient for her careless immodesty., Text: Hey ducky dumpling, gazing high, / Parading in your t'others, / We look less high, and there we spy, / 'Till laughing almost smothers. / However cold may be your liver, / Such timbers, ducky, ne'er can shiver. / Especially with, such hoops to kiver., Cf. 4.50., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Our hearts are with our native land (4 vs.), Variant: a. Print. Andrews. Andrews ivy border. 24 x 15 cm., Variant: b. [As above;] with Astley's imprint pasted over Andrews'. 24.2 x 15 cm., Variant: c. Sheet no. 108; publ. Wrigley (1); [with THE UNION VOLUNTEERS on verso.] Wrigley kissing cupids border. 22 x 13.6 cm.
There is not in the wide world a valley so sweet (4 vs.), Variant: a. 2nd song: "Remember Thee!"; print. Andrews. T. o. border. 24.3 x 14.9 cm., Variant: b. Taken from "Moore's Melodies"; sheet no. 939; publ. Wrigley (1). Wrigley military cupid border. 25 x 15.5 cm., Variant: c. [As above;] publ. Wrigley (3). Wrigley kissing cupids border. 24.4 x 15.1 cm.
Block numbered in two places: 719 ; another number on side of block has been defaced., Image of an unidentified flower., Housed with fragment of another stereotype., , Provenance:, , Variant:
Sample image scanned from: Wolf 1238f, 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).
