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[ Return to page one of views of Philadelphia ]
[ William Birch | Cephas Childs | J.C. Wild ]
[ Centre Square Waterworks | Fairmount Waterworks | Centennial Exhibition | Colton Philadelphia advertisements ]
[ Philadelphia maps | Philadelphia Views Under $250 | Fine Art prints of Philadelphia ]
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Charles C. Kuchel. "Commissioner's Hall, Spring Garden." Philadelphia: John N. Henderson, 1851. 17 5/8 x 24 1/4. Lithograph by P.S. Duval. Original hand color. Repaired tear in sky and minor staining in margins. Otherwise, very good condition. Rare. Wainwright, p. 124; Peters, America on Stone, p. 258.
Several of the most celebrated and rarest nineteenth-century Philadelphia prints were the work of the Philadelphia lithographer P.S. Duval. Four ambitious views of the city that Duval produced in the early 1850s are of the finest quality and are now perhaps the most prized 19th-century prints of their type. This print of Commissioner's Hall, Spring Garden is the most scarce of the four views. Duval must not have printed very many of this image, for it is among the least seldom seen of all his wonderful 19th-century views of Philadelphia. This print depicts the City Hall of the Spring Garden district of Philadelphia County not long after the building's completion in 1848. This striking example of Greek Revival architecture was three stories tall, topped by an ornate clock tower. The building stood on the northwest corner of Thirteenth and Spring Garden and at the time was the most elegant commissioner's hall in the country. Spring Garden was first incorporated March 22, 1813. In the mid nineteenth century the district was characterized by extensive manufacturing establishments, such as the Baldwin and Norris Locomotive Work, Powers and Weightman Chemical, United States Mint, and many more. The Spring Garden District is now defunct as a government entity, ceasing to exist in 1854 after it, and other districts, were incorporated into the City of Philadelphia by the Act of Consolidation. $4,200
Thomas M. Scott. "Northern Liberties & Spring Garden/Water Works." Philadelphia: P.S. Duval & Co., ca. 1852. 17 1/4 x 25 1/8 (image) plus full margins. Lithograph with hand coloring. Some slight staining from former wood slats when framed. One expertly repaired tear each to right and left margins. Overall appearance fine. Ref.: Wainwright, p. 174; Deak: 637; Prints of Philadelphia: 175.
Another of Duval's wonderful, large-folio Philadelhia views. The subject here is the dignified neo-Egyptian water works for the Northern Liberties and Spring Garden. These districts of Philadelphia County built their own water system because they felt there was an unfair surcharge for water from the Fairmount system. Interestingly, the artist of this print was a commissioner for the Northern Liberties. The structure was built about a mile above Fairmount and was completed in 1845. Water was pumped from here to a reservoir located near Girard College. In the print several incidental figures stroll by, a man pumps water perhaps for his waiting horse, and a canal boat is seen passing in the far distance. As is the case with the others of the Duval prints, these encounters with daily life add pleasing human interest, as well as valuable information about the economic and social patterns of the day. $3,500
William Strickland (?). "Masonic Hall Chesnut St. Philadelphia. Erected A.D. 1813. Destroyed by Fire A.D. 1819." Philadelphia: Wm. Spink, Wm. Kneass, & Philip R. Engard, 1853. Lithograph. 19 3/8 x 18 1/8. Printed by "D. Chillas, Lith. 50 S. 3rd. Street." Full original hand color. Third State. Tear extending into sky about 1 1/2 inch and tear in bottom margin expertly repaired. Otherwise, very good condition. See Snyder, Mirror of America: 508 for an earlier state; Wainwright: 229. Framed.
Masonic Hall was one of the first and best examples of Gothic Revival architecture in the United States. Designed in brick and marble by William Strickland, this striking edifice located on Chestnut Street above Seventh burned in spectacular fashion in 1819 watched by a large crowd of spectators. This print, originally issued in 1813, was reprinted in 1853 by the publishers who were themselves Masons. This was possibly done to celebrate the completion of a new Masonic Hall on the same site. Due to its short history, few prints of this building were made and the only other large print depicts the burning. Even though the artist of this print is unknown, there is no doubt that he was heavily influenced by William Birch, who issued a series of views of Philadelphia a few years earlier. The probable artist is the architect - William Strickland. $1,250
John Sartain after a daguerreotype by M.A. Root. "Robert T. Conrad. First Mayor of the Consolidated City of Philadelphia." Philadelphia: Henry Sartain, 1855. Mezzotint by John Sartain. 18 1/2 x 14. Strong impression; printed by James Irwin. Repaired tear in lower margin. Otherwise excellent condition.
A typically fine mezzotint portrait by John Sartain. Known as the 'father of mezzotint engraving' in the U.S., Sartain is known particularly for his very fine portraits based on paintings and, as in this case, photographs. This image shows Robert T. Conrad (1808-1858), the first mayor of the consolidated city of Philadelphia. Lawyer, journalist, poet, playwright and judge, Conrad was the joint nominee for mayor of the Whig and Know-Nothing parties, riding the wave of nativism to victory in 1854. Though quite rare today, it is not unlikely that this handsome portrait graced many homes in Philadelphia during Conrad's tenure in office. $450
William H. Rease. "Joseph Ripka's Mills. Manayunk 21st. Ward." From Atlas of America. New York: J.H. Colton & Co., 1856. 18 1/2 x 30. Lithograph printed by Wagner & McGuigan. Very good condition. Prints of Philadelphia: 188; Wainwright: 211.
In 1856, J.H. Colton & Co. issued a Philadelphia commercial edition of its Atlas of America. Included amongst the many fine maps were advertisements for numerous Philadelphia firms. Several of the larger businesses purchased larger, double page illustrations of their businesses. These are amongst the most interesting and decorative trade ads of the period, and this ad, for Joseph Ripka's Mills, is one the best from the Colton atlas for it shows the town of Manayunk, now a very popular section of Philadelphia. In the mid-nineteenth century, Manayunk--which took its name from the Indian word meaning "place of drinking"--was a very prosperous mill town. It had its origins in the dam, canal and locks built by the Schuylkill Navigation Company in 1821. The regular use of this canal, the steady stream of water power, and the easy transportation to Philadelphia and markets further afield created a good business climate for the mill owners of Manayunk. Joseph Ripka, "Manufacturer of all descriptions of Plain & Fancy Cottanades For Men & Boy's Clothing," had set up his mills in Manayunk in 1831 and by the time of this print he was the largest cotton manufacturer in the United States. His mills are depicted from a vantage point on the west bank of the Schuylkill, with the growing town surrounding them. On top of the ridge behind the mills is the shown the then small community of Roxborough. A wonderful industrial image and the most desirable view of Manayunk. $1,750
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"Terrible Conflagration and Destruction of the Steam-Boat 'New-Jersey,' on the River Delaware, opposite Philadelphia, on the Night of Saturday, March 15th, 1856, between 8 and 9 o'clock, by which Dreadful Calamity Sixty-One lives were lost." Philadelphia: A. Pharazin, 1856. 7 5/8 x 12 3/4. Lithograph. Original hand color. Very good condition.
In the nineteenth century, "rush" lithographs were one of the few ways that the general public had access to visual information of events which interested them such as elections, battles and disasters. These prints were rushed out shortly after the events by publishers hoping to sell them as sensational broadsides. The images were often drawn after "on the spot" sketches, though sometimes they were made up out of whole cloth. The year 1856 was a bad one for disasters around Philadelphia, including a spectacular fire on the ferry between Philadelphia and Camden. On March 15, 1856, the ferry caught fire, and because of the ice in the river and a loss of steering, the ferry was never able to reach the shore. Sixty one lost their lives; the names of the "dead," "missing," and "saved" are listed below the image. $650
After Benjamin West. “William Penn’s Treaty with the Indians.” Philadelphia: Illman & Sons, 1857. With engraved facsimile of William Penn’s signature. Line engraving. 14 1/2 x 11 (plate marks) plus margins. Steel engraving. Overall excellent condition. Not in Snyder, Mirror.
An intriguing 19th-century broadside illustrating Penn’s legendary treaty of friendship with the Lenni Lenape Indians. The theatrical rendering of the figures after Benjamin West’s painting, along with the exuberant poem (appropriately enough, in 18th-century heroic couplets) perpetuate nicely the happy legend. A charming piece of Philadelphia history that was prepared for distribution by newspaper carriers who sold them as a memento or gift at the beginning of the new year. This is one of the most attractive and accomplished of these carriers’ broadsides that is a recognized genre produced in American cities in the nineteenth century. $450
J. L. Krimmel. "White's Great Cattle Show, and Grand Procession of the Victuallers of Philadelphia." Philadelphia: A. Clement, 1860-61. Third edition. 14 3/8 x 23 1/4. Lithographed on stone by L. Haugg. Printed by F. Bourquin & Co. Original hand coloring. Expertly repaired tears, some extending into image and title area. Otherwise, very good condition.
A later printing of Krimmel's wonderful image of the Procession of the Victuallers (see page one of Philadelphia views). This edition was printed in color, providing a particularly attractive rendering of this lively scene. $2,300
James Queen. "Philadelphia Zouave Corps. Pennsylvania Volunteers." Philadelphia: P.S. Duval & Son, ca. 1860. Ca. 14 x 18. Chromolithograph by P.S. Duval & Son. Lithographed by Aug. Feusier. Minor chips at margins; otherwise, excellent condition. Wainwright: 291.
Several of the most celebrated and rarest nineteenth-century Philadelphia prints were the work of the Philadelphia lithographer P.S. Duval. From about 1835 until his retirement in 1869, Duval dominated the city's energetic printmaking scene publishing numerous lithographic portraits, periodical illustrations, and historical works. Duval was a prominent local citizen and a spirited businessman, being the only lithographer to be admitted to the city's Board of Trade before the Civil War. He was also an innovator, the first to adapt steam power to the running of all his presses, and one of the early enthusiasts for the possibilities of printing in color. A final key ingredient to Duval's success was his ability to attract the very best lithographic artists to work for him. James Queen, a native Philadelphian, was apprenticed as a lithographer to the firm of Lehman & Duval in 1835 when he was just fifteen. Queen soon became an accomplished lithographic artist, establishing himself as Duval's principal draftsman. He drew views, disasters, portraits, music covers, advertisements, certificates, illustrations and any other subject Duval needed. During the Civil War, when artists were in short supply, Duval wrote to a friend, "James Queen is still with us and is now one of the best artists in the country."
This is a wonderful and rare Philadelphia image that combines the talents of these two important printmakers. The subject is the Philadelphia Zouave Corps of volunteers. They are shown lined up, marching along in front of Independence Hall, shown with excellent detail in the background. The Philadelphia Zouave Corps was formed in 1860 and this print was probably issued about that time to be sold to volunteers and their families. Zouave volunteer regiments were formed during the Civil War, taking the name and uniform style of the original Zouaves, French infantry troops from North Africa. The uniforms were soon discarded as impractical and the Zouave regiments faded away after the war. $3,400
James Queen. "Union Volunteer Refreshment Saloon Of Philadelphia." Philadelphia: T. Sinclair, 1861. 17 1/4 x 28 1/4. Chromolithograph. Remargined a bottom. Chip in upper left corner of margin. Expertly repaired tears in left and right margins, just into image. Light soiling. Prints of Philadelphia: 196; Wainwright: 412.
A lively Philadelphia view drawn by one of the city's most prominent lithographic artists. James Queen was a native Philadelphian who was apprenticed as a lithographer to the firm of Lehman & Duval in 1835, when he was just 15. He stayed with the firm for as long as it remained open, mastering his craft so well that he became Duval's principal draftsman. During the Civil War, when artists were in short supply, Duval wrote to a friend: "James Queen is still with us and is now one of the best artists in the country." This print is a wonderful example of his work.
In the Civil War, large numbers of soldiers passed through Philadelphia on their way south. Troops from the northeast were ferried across the Delaware River to the foot of Washington Avenue, whence they marched to the depot of the Philadelphia, Wilmington & Baltimore Railroad. There they boarded trains that took them across Gray's Ferry and south towards the war. A local grocer, Barzilai S. Brown, conceived the notion of an organized volunteer group to provide encouragement and sustenance for the soldiers on their brief transit through Philadelphia. His idea led to the opening of the Union Volunteer Refreshment Saloon, which was located at the southwest corner of Swanson and Washington Avenues. Here the troops were furnished with washing facilities, food, and the opportunity of writing letters home, which were then stamped for free.
This bright and lively scene shows one group of troops just disembarked and marching towards the saloon. Another group of soldiers, suitably fed and encouraged, is depicted boarding a railroad carriage. These troops are accompanied by a uniformed marching band and enthusiastically cheered by a throng of spectators. Beneath the image is listed a roster of people connected with the organization. These volunteers had much to be proud of, for by the time the Union Volunteer Refreshment Saloon was closed in 1865, nearly 900,000 men had passed through and received a warm Philadelphia welcome. $1,800
"Camp 'N.P. Banks,' Col. Collis' Regiment of Zouaves D'Afrique. Above Nicetown Lane, Near Germantown, Pa." Philadelphia: L.N. Rosenthal, 1862. Ca. 13 1/2 x 21. Chromolithograph. Some wear in margins and repaired tear at left extending ca. 1 1/2" into image. Otherwise, very good condition and excellent appearance. Not in Wainwright.
A rare scene of a Zouave regiment encampment in the Huntington Park section of Philadelphia ("Nicetown Lane" is now Hunting Park Ave), shown in the image as totally undeveloped. Zouave volunteer regiments were formed during the Civil War, taking the name and uniform style of the original Zouaves, French infantry troops from North Africa. The regiment shown here was one of the first Zouaves, originally raised by Capt. Charles H.T. Collis in 1861 and including many French soldiers who had served with the original Zouaves of France. The original intent of the corps was to serve as bodyguards to General N.P. Banks The corps was involved in a number of actions under General N.P. Banks. In 1862, Collis was commissioned a colonel and sent to Philadelphia to enlarge his command to a full regiment. This print would have been issued in the summer of 1862, perhaps in part to help with his recruitment. Life in the regiment is shown as dashing and easy, members of the regiment, in their full "d'Afrique" uniforms, are shown relaxing in front of their tents, neatly laid out in a verdant field. A listing of the officers in the regiment is listed below the image, but no name is given for the Lieut. Colonel nor for the third regiment doctor, indicating that this print was issued as the regiment was being filled. $2,800
James Queen. "Buildings of the Great Central Fair, in Aid of the U.S. Sanitary Commission." Philadelphia: P.S. Duval & Son., 1864. 12 3/8 x 26 1/4. Chromolithograph by J. Queen. Some staining in the margins. Printed title enhanced by hand. Otherwise, very good condition. With separate manuscript dedication note. Déak: 789; Prints of Philadelphia: 199; Wainwright: 35.
James Queen, a native Philadelphian, was an accomplished lithographic artist, P.S. Duval's principal draftsman. He drew views, disasters, portraits, music covers, advertisements, certificates, illustrations and any other subject Duval needed. During the Civil War, when artists were in short supply, Duval wrote to a friend: "James Queen is still with us and is now one of the best artists in the country." In June 1864, Philadelphia mounted the Great Central Fair to benefit the U.S. Sanitary Commission, which worked towards the relief of wounded and sick Union troops. Contributions for the fair were raised and temporary buildings were erected on Logan Square. This print depicts the fair buildings from the northwest, with the Cathedral of SS. Peter and Paul shown prominently on the far side. Two large rotundas are portrayed flanking the main exhibit hall, a vaulted gallery designed by Strickland Kneass that extended from Eighteenth to Logan (Nineteenth) Street. The fair lasted only three weeks, but it drew great crowds, especially during President Lincoln's visit on June 16th. The fair was a great success, raising over a million dollars for the cause.
Accompanying this print is the following manuscript note: "Presented to Wm. Stavely, Esq. in testimony of my appreciation of his valuable services as Chairman of the Bucks Co. Pa. Committee on Agriculture, Great Central Fair. Alfred L. Kennedy, Chairman General Committee on Agriculture, Philadelphia July 1, 1864." William Stavely was a respected Bucks County farmer who had a successful career in the printing business prior to his retiring to Bucks County. Alfred L Kennedy (1818-1896) was a physician, born and educated in Philadelphia. He studied civil and mining engineering and also medicine from the University of Pennsylvania. Kennedy was also a well know expert in medical chemistry and botany. During the Civil War he acted as a volunteer surgeon of the 2d army corps in the Gettysburg hospital, and in 1863 was commissioned colonel of volunteer engineers. He was vice president of the American Agricultural Congress and the Pennsylvania Agricultural Society in 1876. $2,100
James Queen. "Mower U.S.A. General Hospital,/ Chestnut Hill, Philadelphia." Philadelphia: P. S. Duval, 1865. 11 3/4 x 20 1/2. Chromolithograph. Good margins. With repaired tear in bottom margin, extending into title area. Print conserved and line. Very good appearance and condition. Scarce.
James Queen, a native Philadelphian, was apprenticed as a lithographer to the firm of Lehman & Duval in 1835, when he was just fifteen. Queen soon became an accomplished lithographic artist, establishing himself as Duval's principal draftsman. He drew views, disasters, portraits, music covers, advertisements, certificates, illustrations and any other subject Duval needed. This is a refined print of one of the important Civil War hospitals located in Philadelphia. The bird's eye view gives us an excellent sense of the 47 building complex that once housed 4000 patients and was the largest such hospital in Philadelphia. The complex, designed by John McArthur, was bounded by Abington and Springfield Avenues, on a site that was opposite the present Wyndmoor Station. The highly skillful execution together with the impressive detail of daily comings and goings give the print great life and immense historical interest. One of only a few nineteenth century prints of Chestnut Hill. Ref.: Wainwright, p. 169. $1,400
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