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.
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.
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.
Cherry writing desk, front of the desk, 4.25" below the top, has piano hinges that allow the top to converts to a writing surface covered with green felt. When closed, the piece serves as a chest with four progressively larger drawers. Both sides have recessed panels and the chest is supported by four vase and ring-turned legs.
This mirror is mounted in a Cassetta Frame. cassetta frame, a design that has been in use for over 500 years. This Renaissance frame design, which are also called plate frames and box frames (the word cassetta means "small box"), were developed in Italy during the late 15th century. This frame has gilt surface on the inner molding.
Year Range From
1830
Year Range To
1850
Storage Location
Wheatland, Lancaster, PA
Storage Room
North Middle Bedchamber
Storage Wall
East Wall
Object Name
Mirror, Wall
Material
Wood, Glass
Height (cm)
56.1975
Height (ft)
1.84375
Height (in)
22.125
Width (cm)
81.5975
Width (ft)
2.6770833333
Width (in)
32.125
Depth (cm)
2.54
Depth (ft)
0.0833333333
Depth (in)
1
Dimension Details
Mirror (excluding frame)
H 22.25"
W 13.25"
Condition
Good
Condition Date
2022-06-22
Condition Notes
Spots of desilvering on glass. Chip on wood frame, ~5in below top right corner. Minor scratches on veneer
Object ID
W.1996.003.001
Notes
Renumbered because it shared the same number with another object. Formerly G.35.42, now 96.3.
