American Empire straight-front sideboard with crotch-grain veneered oblong gallery. The upper front has a shallow overhang with a wide center drawer and two replacement glass pulls. Front also has two end drawers with original spiral cut glass pulls. Below the frieze is a double-door cupboard flanked by single door cupboards faced with crotch-grain veneer with slightly sunk oblong panels, each fitted with brass-keyhole surrounds. The freeze surmounts four turned and reeded pilasters with bull-nose trim along the apron. The piece stands on eight turned legs terminating on bun feet.
Provenance
James Buchanan
To Harriet Lane Johnston
Purchased by Julius Friedrick Sachse at a Lancaster Auction
Bequeathed to Samuel B. Sadtler, Great Grandson to Mr. Sachse
One of two matching silverplate bases (1b-2b) that are paired with two round Sandwich cut glass salt cellars (1a-2a). The short silver plate bases terminate on four ball feet situated at each corner. The square bases are hollow and each have an opening upon which the glass salt cellars rest. Silver bases have a ribbed shoulder decor rounded up to neck of base. Neck has two bands with slanting lines, repeated around outside of flare.
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.
Open 'Wicker' work bowl, scalloped edge, interwined vine stem handles; oak leaf and acorn motif along outer rim. White background with gilt on bowl; gilt, bright blue and salmon on open work base. Bowl oval-shaped.
Oval open-design ceramic pedestal dish. White ceramic dish decorated in blue and gold paint. The oval-shaped bowl (about 15 inches from handle to handle and 9.25 inches across) has sides with an open design. The base is outlined in gold and a hole in the center contains a metal flat-topped pin about 4 inches long that extends below the bowl and is held in place by a cork, threaded onto the pin secured by a wing-nut. The ornately decorated base has open spaces with cascading blue leaves detailed in gold with hanging white acorns. 4 curled designs form the feet for the base. Made in France.
Round stamped and hollow metal tieback head with round raised central rosette and five heart-shaped petals surrounded by five larger heart-shaped scroll-edged petals. Tieback attaches to a wall via a long metal post.
John Wedg Wood Ironstone in Chapoo pattern. White earthenware with cobalt blue transferware. Plant design around rim. Tree/pagoda scene on plate face. Rim is scalloped.
John Wedg Wood Ironstone in Chapoo pattern. White earthenware with cobalt blue transferware. Octagonal shaped rim with a rectangle length and width. Tree/pagoda/nature scene on inside face of platter with flower designs around rim.
Manufacturer of earthenware at Hadderidge Bank, Burslem and then at Woodland Street, Tunstall, Stoke-on-Trent
John Wood either already had or, more probably adopted, a middle name 'Wedg' - this rather conveniently caused his marks to been mistaken for the more famous Josiah Wedgwood
One trade directory (1841 Pigot) lists his second name as 'Wedge' but all others correctly give 'Wedg'. John Wedg Wood died, age 43, in May 1857.
Woodcut print on tan, wove paper, done in black ink and hand colored, rectangular shape with vertical orientation. Paper print is mounted with three hinges on cream-colored matboard. Frame is a simple 19th century square profile, brown frame (not original to artwork) with hanging ring at top edge.
Within a single-line border is an image of a female scrivener, in profile, facing viewers left. She is dressed in a blue Empire gown and seated on a tan klismos chair with a strange device underneath (a green pyramid supporting a ball which in turn is surrounded with red balls). Woman has red dot on cheek as well as in a void in her hair. She holds a feather quill in her left hand and a book held up in right hand. Upper left corner of print has a red line painted to delineate a triangle which is painted blue.
Heavily inked lines and large expanses such as hair, book and shoes. All paint is semi-transparent watercolor except for the red which is very thick, opaque and now cracking.
Image is attributed to David Bixler (farmer and folk artist) who produced hand-colored prints such as this as well as portraits, maps, decorated auction bills, taufscheins, religious texts, flowers, etc. He also cut tombstones. See article written by Miriam E. Bixler as well as Papers for Birth Dayes, both in the paper file.
Provenance
This Bixler print is from the Paul Flack collection and is only being brokered through Ron Trauger.
See also: P02.17.1 a Bixler print of stag, P02.27.1-2 prints by Clement Bixler.
Generally very good except for two significant U-shaped tears near top where someone tried to pull piece away from the hinges. (A third hinge holds piece 1/3 from bottom.) Small dog-eared corner at top right. Darkened paper overall. A test of the pH pen indicates all mounting board is neutral or acid-free.
Object ID
P.01.59.1
Notes
David Bixler and his brother Absolam (d. 1884, a potter, woodcarver and farmer) were sons of Abraham Bixler (d. 1847) who owned a sawmill on Muddy Creek in Brecknock Twp. David Bixler lived on the road from Dry Tavern to Reamstown in Brecknock Twp.
Consult paper file for references, prices and copy of "David Bixler, Folk Artist" by Miriam E. Bixler, published in the Journal of the Lancaster County Historical Society, vol. 81, No. 1, 1977.
Framed silhouette of gentleman in profile, facing viewer's right. He is perhaps early-to-middle-age years, dressed in high collar and coat. Below is the name "Amos Ellmaker" handwritten in cursive in faded black ink.
Image is cut out of a rectangle of white wove paper, superimposed on a matching piece of black silk and secured with stitches at periphery. There is a window mat of faded marbelized paper, frame is molded walnut.
Same marbelized paper also covers back of frame. Clipping from printed biographical article is pasted to back.
Moderate wear and aging overall. Wove paper is darkened with fold lines and pin holes. Frame is worn with loose joints. Frame backing paper shows wear at corners and was cut to remove artwork, replaced and secured with cellophane tape, now removed except for bottom strip, leaving adhesive residue.
Object ID
P.03.11.01
Notes
According to the Biographical Annals of Lancaster County, Amos Ellmaker (b. 2-2-1787 and d. 11-28-1851) was a man of intellect and attainment. He was grandson of immigrant Leonard Ellmaker (Germany to Earl Twp in 1726) and son of Nathaniel Ellmaker. He attended Princeton College, then law school in Litchfield, Conn. He began practice in Hbg., served as an officer in the War of 1812, later was appointed prosecuting attorney for Dauphin Co., elected to the State House of Representatives, appointed Presiding Judge for the district composed of Dauphin, Lebanon and Schuylkill counties, was later appointed Attorney General of Pa., but resigned in 1821 to move back to Lancaster. Judge Ellmaker was in 1832 a candidate of the anti-Masonic party for Vice-President of the U.S. In 1816, he had married Mary Rachel Elder of Harrisburg. They had six children.
Black and white photo of President James Buchanan and his 7 cabinet members. Buchanan stands in center with his left hand resting on the left page of a large open book.
Balloon back walnut chairs with serpentine splat. Louis XV style back is rounded and finger molded with no additional carving. Flaring upholstered seat-black horsehair-with serpentine front with beaded molding at bottom of skirt. Cabriole front legs, rounded, with slightly curved square back legs terminating on flat feet.
Artifacts mentioned by Ara Hatch in New York Dalily Times 11/10/1856. Person had visited Wheatland.
Height (cm)
87.15248
Height (ft)
2.8593333333
Height (in)
34.312
Width (cm)
45.72
Width (ft)
1.5
Width (in)
18
Depth (cm)
40.9575
Depth (ft)
1.34375
Depth (in)
16.125
Condition
Good
Condition Date
2022-04-20
Condition Notes
Reupolstered; James Buchanan Foundation records indicate the seats were originally covered in green morrocan leather.
Object ID
W.1936.001.015
Notes
The chair was presumed to belong to James Buchanan by the James Buchanan Foundation representatives in 1936 when they bought certain furnishings that were still in the mansion during the Willson-Rettew Estate sale.
Mentioned by Ara Hatch in the N.Y. Daily Times (visited Wheatland 10 November 1856.)
Crest of top rail, finger-molded in scalloped shaped. Horizontal splat curved upward, terminating in scroll on each end, thicker at middle. Seat is shield shape, serpentine front. Legs plain cabriole, back legs square and canted. 36.14.3 differs from 36.
Pencil sketch on heavy paper of 19th century farm scene. Black and white pencil used on tinted paper (probably purchased with tinted sky and tan foreground). Brick farmhouse, barn and outbuildings surrounded by trees and fencing. In foreground are three cows and two men with a 4-horse team pulling a wagon or similar vehicle.
Sketch is entitled "Home/ Three Spring Farm/ The residence of/ William & Gulielm Brinton." Inscribed in pencil at bottom, the four lines appear to be original to the piece except for "Three Spring Farm" which seems to be in a later hand. At lower left edge of sketch is written, "8th mo 1855." Upper left corner has stamped impression: "H. DELIUS BERLIN/ INVENTION & PERFECTION/ PAPIER PELLER/ TOILE 4(written in pencil) TEINTP (?). (Written by Wendell Zercher.)
Slightly mildewed along edges, especially top; shaded soiling advancing from left to right sides; punctures- two at right edge and two at left, crease at 1/3 distance from top right side. Reverse is very dark with acid-burned imprint of backing board; remnants of previous hinges at top.
Removed from acidic frame and remounted with acid-free materials in simple black frame by Lancaster Galleries.
Oil painting of Mrs. Alexander Hood seated on red chair with draped red curtain behind. Her dark brown hair is parted in the center and she is wearing a white covering with ruffles along sides covering her ears. The two wide sashes/ties hang down to her waist. A dainty lace collar piece, unattached, is around her neck with opening in front. She wears a black dress with gathers from a front vertical seam that ends in a point below her waist. Long sleeve visible on her left arm has two sections of gathers on the upper arm. Her left hand rests on her lap.
Artist: Arthur Armstrong, American portrait painter (b.1798-d.1851).
Some crackling overall. Some paint rubbed off above wooden edges. Some fine vertical streaks on woman's dress, left elbow. A small spot on right side of painting above red chair. Canvas nailed to stretcher bars in tact.
Sampler done with polychrome wool cross stitch on tan loosely woven scrim, bound in blue silk ribbon.
At top of vertically oriented sampler is the date "1853" under which are the initials "AE" within an octagon. Sampler is densely decorated with motifs such as a running deer, a peacock and other birds perched in trees or potted flowering plants. At bottom center is a two-story house flanked by an outdoor pump and a chair.
Made by Anna Eshelman Good, according to family history and Edith Herr (niece of Ida M Herr) and seller's research at the Lancaster Menno. Historical Society. Anna Eshelman married John E. Good (1827-1901), they were farmers in Marticville and had 13 children. They were Mennonite (some of her siblings are buried in River Corners Mennonite cemetery).
Provenance
Descended in the Ida M. Hess family. Her sale was held July 13, 1991 at Wilshire Hills. Descent from maker to daughter Emma, born 1865, who married Jonas H. Hess. Her youngest daughter was Ida M. Hess, now deceased.
Needlework picture or memento done with polychrome wool on punched paperboard. Paper is bound at edges with a red silk with red with bows at corners. Cross stitch embroidery has a black silk bow at center withing an octagonal frame with floral motifs projecting outward from each of the eight sides.
Difficult to decipher exactly, it appears to read "SG", "1853" read in a clockwise direction, "21", and finally "Barbara Good."
Made by Anna Eshelman Good who married John E. Good (1827-1901). They were Mennonite farmers in Marticville and had 13 children. (Some of Anna's siblings are buried in River Corners Mennonite cemetery.)
Provenance
Descended in the Ida M. Hess family, whose sale was held July 13, 1991 at Wilshire Hills. Descent from maker to daughter Emma, born 1865, who married Jonas H. Hess. Her youngest daughter was Ida M. Hess, now deceased.
Silk binding has some loss a center of left side as well as bottom left corner. Very minor wool loss in cross stitching in floral motif at "six o'clock" of octagon. Minor staining on paper. Framed by Lancaster Galleries for an exhibit circa 2001.
Watercolor of bird, fraktur-type, done for an Amish female, attributed to Amish artist.
Bird perched in stylized tree, done on plain off-white wove paper. The tree has one main trunk with five small, arching branches terminating in a globular yellow fruit. Uppermost branch ends in a tulip. Three gray-blue leaves attach to trunk. Bird has yellow body decorated with inked texture marks, brown head and wings and gray-blue beak.
Inscriptions: At bottom right in inked German script is "May 1848." At upper left, written sideways in the same hand is "Fannie Hochstetler/ 1848/ Nannie H. Beiler/ 1896.
Mounted in brown paper window mat and frame (likely by sellers for sale). Frame is flat softwood with half-lap, mitered joints and paint-decorated with a dark glaze over a medium-brown ground. Hanging ring at top. (Written by Wendell Zercher)
Provenance
According to sellers' research this may have been a gift to Fannie Hochstetler in 1848, after which she may have married and become "Nannie H. Beiler." Gingerich and Krieder record a Veronica/Fannie/Franey Hostetler (HS5362) (1840-1914) of Mifflin County who married John K. Byler (BY3566) (1831-1904) also of Mifflin Co. Thus, the Earnests are suggesting the sideways description may have been added later than the original 1848 inscription at bottom.
Bought from Russell Earnest & Associates, Nov. 2, 2001, for $1300.00.
Paper has bee trimmed, probably on all four sides. Multiple fold lines with a cluster at upper left corner, a horizontal one at 2 and 2/1 inches from bottom and a vertical one at 1 7/8 inches from right edge. Moderate to heavy soiling, especially above May 1848 date. Upper left cover has minor loss all corners have paste and remnants of paper where previously attached.
Drawing has slid askew since earlier photo. It would be easy to fix. (MAW)
Fraktur-style birth certificate for Heinrich F. Eshbach done on white, rectangular paper with a vertical orientation. Drawn in pen and ink and decorated with polychrome paints in a nearly symmetrical design. From and layout suggest influence of Samuel Bentz and other fraktur artists.
Framing the text block at the sides are two columns decorated w/ vining plant with berries growing out of plinths and rising to the top where six ball shapes are arranged in horizontal design. Below the text block is a large central flower flanked by a pair of smaller flowers. Below these is a very unusual butterfly with hairy wings and feet and a face. The painting is handled inexpertly in a sloppy fashion and unevenly applied. Color are blue, red, green and a brownish yellow.
The text block is in German and state that Heinrich F. Eschbach was born the 29th of September, 1854, in Lancaster Twp., Lancaster County, to his parents Christian and Anna Eschbach. The last three lines appear to be a religious blessing or Bible verse....
The text is done in iron gall ink in a somewhat uneven hand. To nearly every downstroke of each letter, the penman has a a diagonal tail of double pen strokes giving the effect of shading or shadowing.
Original wood back on revers has the signature "Benjamin C. Eshbach" written in ink of adhesive tape.
Provenance
Acquired by Bd. of Trustees for HCLC in memory of Gladys Jane Swift Seibert. From Steven F. Still Antiques, Elizabethtown, PA, for $2000.00. Received July 1, 2001.
Paper is buckled (especially at top) and somewhat embrittled. Significant soiling at top in vertical streaks. Multiple stains/foxing overall, darkest stains at perimeter, including a moisture stain at bottom right corner. Accretions from frame attached to top edge and left edge. Original wood back board replaced with common matboard (acid-free tissue used as buffer). Frame has original finish which is nicked and scratched in many places, most significantly at center of right member and a large scratch to right of center on bottom member.
