Rococo Revival gas chandeliers attributed to Christian Cornelius, a Dutch silversmith who founded the Cornelius lighting business in 1827. It became Cornelius, Baker, and Company in 1835. By the 1850s, it operated a factory on Columbia Avenue. They began by making brass lighting fixtures and later zinc fixtures and sculptures.
Rococo Revival gas chandeliers attributed to Christian Cornelius, a Dutch silversmith who founded the Cornelius lighting business in 1827. It became Cornelius, Baker, and Company in 1835. By the 1850s, it operated a factory on Columbia Avenue. They began by making brass lighting fixtures and later zinc fixtures and sculptures.
a) Silver teapot with carved wooden handle; with three letter script monogram and decorative flourish on two sides; decorated base; gallery row. Stamped "D HALL" on bottom.
Dark Brown Leather, Tan Suede, Stitched Seat. Red, Blue, Green, and Cream Woven Girth. Quilted Padding Underneath. Tulip Motif Painted on Saddle in Red, Green and Brown. Maker's Mark - 'H. Pinkerton, Maker, Lancaster'
Stove Top hat, black with brim turned up greatly on sides, down front and back. Thin black grograin ribbon above brim. Crown tapers in, then out again slightly. Made by Schultz & Brothers, Lancaster, PA.
Marble Fragment from Original Tomb of James Buchanan
Description
Fragment from James Buchanan's tomb in Woodward Hill Cemetery, Lancaster, PA. Rectangular base with relief carving of three oak leaves on one short branch with an acorn on top. White marble. On back: paper with handwritten ink: 'a piece of waste marble from (the?) Tomb of Hon. James Buchanan.
Provenance
Found by donor at gravesite. From original tombstone. Gift of Jim McMullin per Pat Clarke 4/5/2023
Mahogany cased square piano has curly maple? frontispiece/nameboard painted with an oval cartouche with"John Wind / Lancaster" flanked by colorful floral sprays (likely painted by Eichholtz). Crossbanded mahogany veneer, front and sides and a diamond shaped ivory lock escutcheon centered at front of folding keyboad lid. Square tapered legs terminate with brass cuffs and casters. One high stretcher at both ends. Exposed head bolts at sides. Entire top hinges up exposing soundboard with strings and hammers.
Black keys are ebonized maple topped with ebony veneer. Ivory covered white keys. Dummy key at left end.
Inscription: Pencilled script on reverse of nameboard unclear (need UV light to read).
Made by John Wind (1783-1858). Owned by Aida Shaibly Myers, Lancaster, PA, 1812.
Provenance
Donor: Aida M. Houston (estate). Info derived from archives and donor cards. Note: 2015 research found probable identity & family members of Aida, in file.
Over-cleaned finish. Overall in better shape than other known Winds, per Ray Brunner. Soundboard is twisted in length due to string tension with some replaced strings. Many fine strings unattached & snarled at right interior. Dummy key at left end of keyboard. Bolt covers at leg tops missing. Scratch across front. NOTE: Hinge at left side of top board missing its pin; inserted nail.
Object ID
1964.016
Notes
In Historical Soc. of Pennsylvania's Daybook of J. Eichholtz on page 30 is an entry dated March 1, 1810 for John Wind: "To painting frontispiece" with a charge of 15. This is presumably for this, or another, piano.
An identical entry on page 20 for organmaker Conrad Doll dated May 19, 1809 lists "To painting a frontispiece" for the same charge of 15. (Copies of these pages in file P.86.3 for Eichholtz copper measure).
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.
Provenance
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.
Object ID
P.03.10.1a-c
Place of Origin
Lancaster
Credit
Heritage Center Collection, acquired through the generosity of Ronald V. Smith
Clock wheel cutting machine used by Lancaster clockmaker Martin Shreiner, Sr. Made of steel and brass with turned wood handle knob on crank. Main frame of tool is steel resting on four rounded, downward-curving legs with coin-shaped feet. Many moving parts, arms and cranks/screws, including the swiveling cutting yoke/frame at top (cutter blade with arbor/spindle missing) and the shaped index arm that "reads" the holes on the 13"-diameter brass wheel furnished with concentric circles of surface holes.
The LaFonds call this a very sophisticated machine, incorporating Swiss, German and English ideas/influences. This indicates to them that the machine was made in America, very likely by Shreiner himself. It was imperative for clockmakers to own this tool to practice their trade. Few survive. This machine was first described in the early book or article (LCHS Bulletin) printed in 1917(or 1919) & 1939 by D. McGee who wrote about Lancaster clockmaking. Ed believes this machine to be "the finest American engine in existence" and that it very well may have been made by Shreiner, probably in the 1790s. The cutter blade was used to cut the teeth on the large brass wheels that turn the pinions. There would have been either a slitting cutter or a form cutter used. Carter Harris says form cutters were used by the 1790s.
Attributed to Martin Shreiner (1769-1866).
An 8x10 B&W photo is in picture file under "clocks." Also slide is in slide collection, #14-3-11.
Lancaster Borough, most likely
Provenance
Owned by two brothers, Samuel K. and William L. Fraser, clockmakers who lived in Lincoln (just west of Ephrata) and grandsons of clockmaker William Fraser (1801-1877), then to early collector Earl T. Strickler (FNAWCC) who had it on display at the Columbia Clock and Watch Museum. Upon Strickler's sudden death circa 1974, it was sold by his widow, Mary Jane Strickler, to Edward F., Jr. and Virginia A. LaFond who removed rust and kept it on a window sill. They then traded it to dealer Jamie Price for some clocks. Price had it on sale at the 2004 Philadelphia Antiques Show in mid-April where, as representative for the von Hess Foundation, Tom Cook, purchased it for this museum's collections.
Ed LaFond believes the Fraser family was related to the Gorgas family, thus they were in a position to inherit tools. Due to this, it was believed at first that both the machine and the scribe were from the Gorgas family. However, LaFond believes the Frasers were also related to the Shreiners. Stacy Wood claims this machine was one of Martin Shreiner's tools (Vol. 96, LCHS Journal).
Pitting on steel surfaces, slight discoloration on brass parts, signs of wear overall.
Object ID
G.04.19.1
Notes
Information from: Clockmakers of Lanc. Co., Wood/Kramer, 1977, p. 142. 225 Years of Timepieces (Catalog of 1st Annual Exh. of NAWCCM, 1979), p. 63. Stacy Wood researched origins and provenance of these tools and wrote article in Vol. 96 #4 of LCHS Journal. Conversations with Virginia LaFond ( 5/19/04), Ed LaFond (7/6/04) and Carter Harris (7/7/04).
Place of Origin
Lancaster
Usage
Shreiner, Martin
Credit
Gift of the Richard C. von Hess Foundation, Heritage Center Collection
Dial scribe used originally for engraving circular lines (chapter rings) in brass dials. Converted for use with later white-painted dials (probably held a pen, according to clock expert Ed LaFond). Used by Jacob Gorgas (1728-1798). Maker unknown; most likely Lancaster Borough.
The tool arm is created from a foot-long bar of iron, rectangular in section. One end is enlarged and fitted with a vertical attachment made of cone-shaped iron surmounted by a turned wooden (walnut?) handle. This vertical attachment comes to a blunt point at the bottom. A shaped sleeve fits onto the horizontal iron bar and is fitted with a vertical hexagonal hole at one side. Two iron thumb screws are positioned at each side of sleeve.
Provenance
Owned by two brothers, Samuel K. and William L. Fraser, clockmakers who lived in Lincoln (just west of Ephrata) and grandsons of clockmaker William Fraser (1801-1877), then to early collector Earl T. Strickler (FNAWCC) who had it on display at the Columbia Clock and Watch Museum. Upon Strickler's sudden death circa 1974, it was sold by his widow, Mary Jane Strickler, to Edward F., Jr. and Virginia A. LaFond who owned it for "20 some" years. They then traded it to dealer Jamie Price for some clocks. Price had it on sale at the 2004 Philadelphia Antiques Show in mid-April where, as representative for the von Hess Foundation, Tom Cook, purchased it for this museum's collections.
Ed LaFond believes the Fraser family was related to the Gorgas family, thus they were in a position to inherit tools. Due to this, it was believed at first that both the machine and the scribe were from the Gorgas family. However, LaFond believes the Frasers were also related to the Shreiners.
Iron surface is pitted from corrosion, now stable. Turned wood handle is moderately worn and scarred with a broken off piece creating one flattened side. Wood is also checked (cracked) throughout neck.
Object ID
G.04.19.2
Notes
Stacy Wood researched origins and provenance of these tools and wrote an article in Vol. 96 #4 of LCHS Journal. Conversations with Virginia LaFond ( 5/19/04) and Ed LaFond (7/6/04).
Place of Origin
Lancaster
Usage
Gorgas, Jacob, 1728-1798
Credit
Gift of the Richard C. von Hess Foundation, Heritage Center Collection
Copper measure of sheet copper with conical body. Beneath applied handle is a keyed seam. Rolled copper base and lip. Applied strap handle, attached with 2 rivets at top, 1 rivet at bottom. Handle terminates with heart form at bottom and two lobes at top. Interior is tinned.
The name "(E)ICHHOLTZ" is stamped onto top of strap handle. "E" of Eichholtz is hidden where handle is attached at top. Interior is coated with tin.
Jacob Eichholtz worked as a coppersmith/tinsmith with his brother George on East King St. until c. 1815, when he began focusing on portrait painting. 1830 Tax Assessment lists him as a portrait painter.
Research by Pat C. Keller at Historical Society of PA in Jacob Eichholtz's daybook, indicates he made measures, not mugs. Notes in file indicate purchase was contingent on results of an effort to x-ray upper handle for evidence of initial unseen letters of stamped name. No indication this was ever done.
Provenance: Sellers Jackie & Vernon Gunnion purchased measure at Conestoga Auction circa March 1986. Jackie reports Don Fennimore of Winterthur knows only two other signed copper pieces -- by Apple and by Schlosser.
Photos: slides #23-5-1 to 9 and multiple B&W 8x10s
Small to significantly larger dents on sides and bottom Some scratches from general wear. Surface has been polished and lacquered. Some polish residue visible at both the rolled lip and rolled base.
First "H" and "T" of "ichholtz" are very worn. Corrosion and wear to interior tin surface.
Upper terminal of handle has split at left rivet (stable).
Object ID
G.86.03
Notes
See accompanying P86.3 file for research done by Heritage Center Director Pat Keller-Connor to determine authenticity of the touchmark. There was a possibility of the first initial being "J" for Jacob or "G" for George, a brother. On Feb. 17, 1802 Jacob advertised with his brother George as "tin-plate workers". Pat K-C intensively did research to settle the matter before finalizing the purchase of the measure
studied Vol. 1 & 2
See Henry Kauffman, American Copper and Brass, p. 119.
Place of Origin
Lancaster
Credit
Courtesy of LancasterHistory, Lancaster, Pennsylvania.
Chamber Organ in Hepplewhite kidney-shaped case, flat top, with French feet. Cabinet made of mahogany veneers; secondary woods are curly maple, walnut, and pine. Figured mahogany veneers on case contrast with lighter colored wood inlay on top, sides, and front. Three wide strips of banding encircle case at lid, above doors, and at bottom above feet and apron.
Front section of lid is hinged, revealing keyboard of 32 ivory-plated keys and 22 sharp keys of ebonized poplar and fruitwood nosings At each end of keyboard are pierced wood grilles (for sound emission) with badly deteriorated fabric backing. Below keyboard lid is an inlaid lock escutcheon. Two front doors curve inward, recessing below keyboard section and creating a concavity for knee space. Inlaid lock escutcheon on right door.
Pine and leather bellows in good shape, some repair at hinged end. There are 17 loose pipes, apparently fallen out but intact. Fabric covering missing on back.
Conrad Doll was a cabinetmaker, organ builder and tunebook publisher as well as organist & schoolmaster for the First Reformed Church. Three extant organs by Doll are the 1807 organ in Chippendale case made for Peace Church near Camp Hill, Pa., and two chamber organs which are visually identical (One owned by Ray Brunner and the other by HCLC). Ours was deemed to have been built circa 1806 due to the Oct-Dec.1805 date of the newspaper lining of the bellows. See Notes!
Provenance
Likely built by Doll for his brother Joseph, a tunebook publisher in Harrisburg. The organ passed to Joseph's daughter Catherine Elizabeth Doll who married George Mish (1783-1851). Their son Dr. George F. Mish (1824-c.1919) married Ms. Smuller and they lived at 460 Union St., Middletown. The organ remained at the house, passing to son George Smuller Mish (1862-1939) & successive descendants until the house was sold in 1983. The furnishings went to auction, but the organ did not sell for lack of interest and was shoved under staircase. The Vreelands who purchased the house agreed to keep the organ, allowing it to be rescued and eventually sold to HCLC. It was restored to playing condition by R.J. Brunner and Co. (Ray & Ruth) of Silver Spring, Pa. in 1995-1996.
Originally in need of many repairs to case and interior musical works (see file for description). Restored to playing condition in 1995-1996 by Raymond & Ruth Brunner.
Foot piece later came unglued and is detached.
Object ID
P.85.09
Notes
In Historical Soc. of Pennsylvania's Daybook of J. Eichholtz on page 30 is an entry dated March 1, 1810 for John Wind: "To painting frontispiece" with a charge of 15. This is presumably for the one in LHO collection, or perhaps another.
An identical entry on page 20 for organmaker Conrad Doll dated May 19, 1809 lists "To painting a frontispiece" for the same charge of 15. (Copies of these pages in file P.86.3 for Eichholtz copper measure).
See: That Ingenious Business, Pa. German Organ Builders, Raymond J. Brunner, The Pa. German Society, 1990, pp. 158-161.
"A Conrad Doll Chamber Organ," The Tracker, Raymond J. Brunner, Vol. 25, No. 2, Winter 1981, pp. 16-19.
Research notes on Doll family genealogy. Also one-page article written for 1997 Exhibit label by Ruth Brunner.
Place of Origin
Lancaster
Credit
Heritage Center Collection through the generosity of the James Hale Steinman Foundation
Molded red earthenware pitcher with mottled brown glaze. Sits on hexagonal foot, has hexagonal swelling body with shoulder upper section constricting to hexagon neck with straight sides. Pronounced spout and angular "C" shaped handle.
Provenance
Donor purchased pitcher at a Lancaster City garage sale in 1987.
Light tan earthenware sectional spittoon with darker "runny" slip or glaze finish. On bottom is impressed "Eagle Porcelain Works / Lancaster PA / Henry Gast S.Q. ST."
