Painting, St. Jerome, European. Oil on canvas on board. Portrait is of bearded, bald, older man with upturned head and rapturous expression, eyes turned heavenward.
Glossy varnish over oil; canvas adhered to oak panel. Mounted in gold-painted, early, molded pine frame, likely older than painting. Wood liner, painted copper, allows painting to fit frame.
Contrived arrangement of strips on reverse mounts and secures board. Split oak panel has two thin walnut strips epoxied across back for support.
Old paper sticker printed "11" pasted to upper left corner of back. Upper right corner has old newsclipping pasted and covered with plastic strip. Article titled "Mifflin Paintings Sold at Sale" notes estate sale of Grace Minich estate in Columbis. Handwritten at top is "8 JULY 1967."
Owned by Mifflin and hung in his home. Brought back from Europe by J. H. Mifflin. Apparently inherited by Grace Minich and sold among approx. 35 turn-of-the-century paintings, July 8, 1967."
Gold painted molded pine frame with painted wood liner.
Frame size is H: 23 inches x W: 19 inches.
Oil on cavas has bubbles and other raised points; some areas of abrasion. Panel split top to bottom with cupping. Wood strips epoxied to back for support. Board has white in pores. Recent wood strips contrived to hold board.
Gold paint on frame is flaking with multiple losses. Upper corners and lower rail all have gesso losses.
St. Jerome was one of the scholars of the early church. Born around 347, he later translated much of the Bible into Latin, called the Vulgate.
Sketch by Lloyd Mifflin (and Thomas Moran?), "The Bridge at Wrightsville". Gray flecked paper has pencil sketch of landscape with river and bridge in distance. Mounted with homemade window mat of dark gray with line borders around window.
Kraft paper backing has "Wrightsville Bridge" in ink at top right and pencil inscriptions at center reading "acid free linen mat barrier and backing used herein - another Mifflin sketch on back of existing sketch-"
Presumed to be inherited from Lloyd Mifflin by the Minich sisters
Thin, w/ molded plaster? foliate decoration on wood, painted black over original gold
5 x 7 inches
Image size. Frame H: 10.625 inches x W: 13.625 inches.
Bottom right corner of sketch missing. Old glass in a plaster-molded thin wood frame is painted flat black over original gold. Multiple paint chips. Backing paper perforated especially at top and left side.
Birth & baptismal certificate on laid paper. Printed form with central textblock in German within a multiple line border. Infilled and decorated around textblock by Speyer; cross-legged angel at top, pelicans feeding young at sides and flowers at sides and bottom. Watercolors are red, blue, yellow, green and brown.
Infilled for Johannes, son of Valiendein (Valentine) and Eliesabetha (Elisabetha) Bohmer of Brecknock Township in Lancaster Co., born Dec. 13, 1788.
Georg Friederich Speyer (active 1774-1801) used this printed form produced c. 1789 by Barton & Johnson of Reading. See Notes.
General wear with numerous creases and wrinkles; one pronounced vertical centerline crease. Repaired tears, esp at left edge. All edges are ragged and uneven, esp. at right.
Conserved by CCAHA in 1989 (see report in file). Hinged into window mat & back mat. Relaced in its original frame using UF-3 Plexiglas and acid-free cardboard on reverse with a taped mylar dust shield.
Printed form by Reading printers Thomas Barton and Benjamin Johnson, circa 1789 (see Klaus Stopp, The Printed Birth & Baptismal Certificates of the Pa. Germans, v. 4, p. 84). Speyer used this printed form for Johannes Bohmer who was born the previous year in1788.
Place of Origin
Gift of Mr. & Mrs. Richard Flanders Smith, Heritage Center Collection
Floral applique block quilt of cotton. Sixteen 15" floral applique blocks of flowers on white ground. Flowers have blooms of various greens & browns appliqued together to create two different designs that alternate block by block. Flowers branch out in curves with leaves of black & green print and intricate flower buds.
Sashing, 2.5" wide, separates blocks with white strips edged with thin green strips. Inner border of 1-inch wide brown strip encloses blocks. In large outer border of white with mitered corners are graceful grapevines of grape clusters, leaves of the same green & black print as leaves in centerfield,and tendrils of chain stitch embroidery. Wide red binding w/ mitered corners wraps to back and is hand stitched. White cotton back of four panels. Thin cotton batting.
Hand-quilted with a grid in centerfield except for bold cable that is superimposed on sashing and brown inner border. Outer border has slanting parallel lines. One distinctive round flower 2.5" in diameter with 10 petals is found in outer border near one corner, near edge.
Card originally sewn on quilt (handwritten in ink): "Quilt made by Rebecca Rynard of Line Lexington Penna. 90 yrs ago - it has taken many 1st prizes at the State Fairs in both Montgomery Co & Bucks Co - Penna." Below is "Property of M.D.S. Elwell 524 Cedar Lane Swarthmore(?)"
Wheatland record states history of ownership is unknown between maker and donor. Research shows most Rynards lived in Cumberland Co.
Unframed watercolor portrait on paperboard of Louisa Anderson Henry (1848-1886), 2nd wife of Buck Henry. Within a shaded oval, subject is painted from waist up, facing a quarter turn to viewer's left. Long brown hair is contained within a large net tied at top with a bow. Hair net appears to be dark brown gouache. Checked dress has gauzy white collar pinned at front with a brooch.
Inscription: Signed in pencil at left edge near bottom corner with "Brady / N.Y."
Passed to Pamela Henry (b. 1923) daughter of Buck's youngest son, Frank Anderson Henry; then to grand-niece Louisa Dent, donor.
Paperboard has age-darkened buff paper covering the front, now brittle and broken/cracked into multiple pieces. Appears to have been repaired with glue. Additional residue from adhesive at each corner, with traces of white paper attached (painting apparently had a cut-out overlay framing oval, since detached). Same adhesive residue w/ white paper at top of reverse.
Thought to have been painted by artist James Buchanan Henry who was her husband. (Patrick Clark)
Unframed watercolor portrait on paperboard of Louisa Anderson Henry (1848-1886), 2nd wife of Buck Henry. This is a copy of the original, 2015.028.2, by an unknown artist.
Subject is painted from waist up, facing a quarter turn to viewer's left. Long brown hair is contained within a large net tied at top with a bow. Checked dress has gauzy white collar pinned at front with a brooch. Blue-tinted background. Done apparently in watercolor and possibly colored pencil. Painting is rendered on an oval paper pasted onto a paper-covered paperboard. Oval painting is circumscribed by a penciled oval.
Inscription: In right bottom corner is written in pencil: "Copy by." over an illegible signature
Descent within Henry family to home of Reginald Buchanan Henry (Buck's second to youngest son) to his grand daughter Louisa Dent (donor).
Pair of ice skates (A-B), housed in custom-fitted wooden case (C).
Skates constructed of steel plate in shape of foot surmounted on a 1/4-inch-thick blade terminating in a scrolled toe. Skates are identical with no right or left differentiation. One skate has four additional holes in heel. Three leather straps with buckles are riveted to footplate. Dimensions of skate: H: 4 1/2" W: 4" L: 12"
Bottom of each skate's footplate is stamped: "EICHHOLTZ & BRO/ LANCASTER, PA."
Box, softwood, dovetail construction, re-painted flat green. Under paint is a ghost of floral decoration on lid, front and sides. Has hinged lid leading to fitted interior covered with coarse green fabric pasted and tacked to wood and edged with braiding. Latch hooks on front to secure lid.
Made by Eichholtz & Bro. (Henry Clay Eichholtz (1830-1918) and Robert Lindsay Eichholtz.
Research done by Tom Ryan suggests that according to Lancaster Directories, Eichholtz & Bro. were operating in Lancaster City possibly as early as 1858 and at least as late as 1870. Jacob Eichholtz's sons, Robert Lindsay and Henry Clay, were in partnership, listed as gunsmiths by 1863 and guns and cutlery by 1866 until at least 1870.
Skates largely intact, metal has slight corrosion overall, leather straps deteriorated with losses (2 missing on one skate and one on the other). Box appears to have been repainted and is very soiled. Interior has worn "upholstery" with losses of braiding. Hingers have been replaced; handle is missing at front.
Place of Origin
Heritage Center Collection, acquired through the generosity of Ronald V. Smith
All cotton quilt, Lone Star pattern composed of pieced diamond prints on a white ground, itself pieced with many sections. Appliqued swags and beefy 8-point stars in outer border. White binding applied and hand-stitched back and front.
REFURBISHED: Lone Star, swags and small stars were later covered with appliqued solid pink cotton, apparently meant to salvage a quilt suffering from deteriorated original prints. Original printed fabrics underneath still visible along many edges of pink overlay. No quilting done on pink overlay.
Found in Wheatland's collection with no identification.
Pink applique is a later "repair" covering all areas of original printed fabric used in lone star, swags and small stars. Original pieced prints visible through the pink overlay and are in unknown condition; presumed to be worn. Overall soil and browning from sun and acid burn. One-inch hole near swag; other scattered holes as well.
Courtesy of LancasterHistory, Lancaster, Pennsylvania.
Three watch papers, 2 of Moyer and one of Beiler, printed with advertisement on small paper discs, used between pocket watch works and case to protect works:
A. Thin paper disc w/ small cuts around periphery, printed within double-line outside border is "ABRAHAM S. BEILER, / Watchmaker, / LEACOCK, LANCASTER COUNTY, Pa."
No inscription. Dia: 2".
B.Thin paper disc, small cuts around periphery, printed with "B.D. MOYER, / WATCHMAKER / AND / JEWELER / BIRD IN HAND". Pen inscription on reverse: "July / 8756 / Cleaning & / Repairing / J. Hoover". Dia: 1.375". See Notes.
C.Paper disc, small cuts around periphery, printed with double-line outside border has "B. D. MOYER / Enterprise, Lancaster Co." and within center is "WATCHMAKER / AND / JEWELLER." Pen inscription on reverse: " 4455 / To(?) Cleaning / & / Repairing / Jacob Hoover / ,75c", indicating cost for service. Dia: 1.875". See Notes.
Abraham S. Beiler (1851-1909)
Benjamin D. Moyer (1825-1890) married to Elizabeth
A. Light overall soil with minor losses/folding at periphery.
B. Overall heavy soil and dark blotches of stain; some paper losses at periphery and folding.
C. Overall heavy soil and dark blotches of stain; much of periphery paper is missing & remainder is tattered & folded.
Benjamin Moyer listed as watchmaker, age 43, in1870 Census for E. Lampeter.
Abraham S. Beiler, born 1851 died 1909 in Upper Leacock.
Watch papers were originally used as a packing between the inner and outer case of a watch to protect its works. The watch papers which have become the most popular with today’s collectors are those engraved papers used as an advertising medium by watchmakers or as labels are often usually attractive. Many well-known American artists engraved them so that they may have real esthetic value.
By the beginning of the 19th century, watchmakers realized they could use small, round papers in the back of a watch as an advertising medium. It soon became the custom, when they cleaned and repaired a watch, for watchmakers to insert their own papers, perhaps showing an engraved scene with their name and the location of their shops. On the reverse of the paper the watchmaker might note the price and date of repairs.
Watch papers were both printed and engraved on white, cream, buff, orange, blue, green, yellow or rose paper. They vary in size from 1 1/2 inches to 21/2 inches in diameter, but the common size seems to be about 2 inches in diameter. Though watch papers also varied in thickness, the earliest ones are on thicker and higher-grade paper. - See more at:
Bisque fired vase with figurine. Unglazed, white bodied ceramic vase with figure. Colored with with pearlescent paint and gold enamel. The bowl of the case is shell like with floiate scrolls on the rim and a rough rock-like component oppposite the figure. The figure is a boy in romantic costume of white shirt, blue waistcoat or vest, pink cravat or tie, salmon breeches, white stockings, gold shoes, and large straw hat with blue bow. On bottom is number 51 in red and number 5 in varnish.