The Aldine was published from 1868 until 1879 as "the art journal of America." Within its pages were fine commissioned images by such famous artists as Thomas Moran. Like other magazines of the period, The Aldine issued some separate prints as bonuses for subscribers, including this fine chromolithograph after Moran. Moran "expressed his entire satisfaction with this reproduction, pronouncing its accuracy, 'wonderful.'" $600
"The World's Greatest Importing Establishment. Main Barns Of The Holbert Horse Importing Co. A.B. Holbert Proprietor. Greeley Delaware County, Iowa." Milwaukee: Gugler Lithographic Company, ca. 1880. 19 x 27 (image plus margins). Chromolithograph. Large margins with some minor foxing not affecting image. Very good condition.
A beautiful advertising print of this well known 19th and 20th century horse farm. On the barns Holbert advertises that he carries the following breeds: Percherons, Belgians and English Shires, as well as draft, coach and hackney horses. Holbert started his business in 1878 and imported animals from England, France Belgium and Germany. This firm lasted well into the 20th century and this very scarce print, according to the previous owner, was acquired from the Holbert family.
Gugler Lithographic Company was started in the same year 1878 by German immigrant Henry Gugler the same year as Holbert began his horse farm. By 1883 Gugler was printing all the advertising for Pabst Brewing. By World War Two, Gugler was one of the states largest and most successful printing firms with Gugler working for the Federal War Advertising Council. In 1956 the last member of the Gugler family interested in the firm passed away, ending eight decades of family control. During the remaining decades of the 20th century, the firm was purchased and sold by several companies until the name disappeared. $3,800
Views from The Analectic Magazine. Philadelphia: 1817-1820. Engravings. Very good condition unless noted otherwise.
In 1812, Philadelphia bookseller and publisher Moses Thomas purchased a monthly magazine entitled Select Reviews, engaged Washington Irving as editor, and renamed the publication The Analectic Magazine. Irving, his brother-in-law J. K. Paulding, Gulian C. Verplanck and, later, Thomas Isaac Wharton wrote much of the material, which concentrated on literary reviews, articles on travel and science, biographies of naval heroes, and reprints of selections from British periodicals. Illustration "was one of the magazine's chief distinctions. Not only were there the usual engravings on copper, but some of the earliest magazine experiments in lithography and wood engraving appeared here. The plates were chiefly portraits, though some other subjects were used." (Mott, A History of American Magazines)
A fine example of the American bird's eye view of the nineteenth century. Beginning after the Civil War, the bird's eye view became one of the most popular of print genres. This was a period of significant urban growth throughout the country, and the civic pride which proliferated provided a fertile field for print publishers to market these visual vistas of American cities and towns. According to John Rep's seminal Views and Viewmakers of Urban America (Columbia, 1984), publishers sent their artists out into the field throughout all parts of the country to draw and market the views. The artist would walk the streets of the town or city, drawing all the buildings and encouraging the citizens to subscribe to the view that would be produced. Once the entire area was sketched and enough subscriptions obtained, the artist would use a standard projection to turn his street-level images into a bird's eye view of the town. Because these views were primarily sold to citizens of the place depicted, they had to be accurate and all buildings shown. Thus these views are not only highly decorative, but are also detailed and accurate pictures of each place shown, providing us with a wonderful documentation of nineteenth century urban America.
This is an especially interesting view because its creation was generated out of the Johnstown Flood disaster. The subtitle explains that the picture shows "the different currents by colors." Red oblongs represent houses that were left after the flood. Topography and roads illustrate the surrounding region that located the sources of the waters and the track of the destruction. Numbers on the elevated view are keyed to forty places listed below the image in the bottom margin. $425
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©The Philadelphia Print Shop, Ltd. Last updated November 24, 2014