Lignum vitae lead-dressing stick. odd shaped heavy wooden tool has flat bottom, flat front end and long round handle on opposite end. Dark lignum vitae wood, natural finish with white paint at various places on handle.
Lead dressing stick is used to "dress" or shape, flatten, and smooth sheet lead.
Provenance
Maker to daughter Ruth Eppley Ganse and spouse Robert N. Ganse to son
Long, thin length of octagonal bar with striking head at one end and other end with four-fluted, slightly enlarged tip. Known for making holes in masonry by hand.
Marked "BALTIMORE 3/?". along side.
Provenance
Maker to daughter Ruth Eppley Ganse and spouse Robert N. Ganse to son
Long, thin length of octagonal bar with striking head at one end and other end with four-fluted, slightly enlarged tip. Known for making holes in masonry by hand.
Marked "BALTIMORE 3/?". along side.
Provenance
Maker to daughter Ruth Eppley Ganse and spouse Robert N. Ganse to son
Birth certificate done in German for "Anna Schenkin" (Schenk), born in "Connostoge Taunschip Langster County", November 20, 1783. Hand drawn, colored and lettered on laid paper with iron gall ink. No baptism indicates a Mennonite family.
The text is enclosed within a heart, surrounded by various vining flowers and four birds, two above and two below. The design conforms with artist's normal pattern of having the vines emanate from a hole at the top center of the heart. This artist made fraktur for mostly Lancaster County Mennonite families. He was almost certainly a schoolmaster. There are about 15 of his fraktur that are documented.
"Johannes Schopf/Schopp Artist" (active c. 1774-1800)
Note written on frame's dust cover by Smith states this fraktur was exhibited in two shows: Allentown Folk Art Show (Nov. 1974) and William Penn Memorial Museum, F/A Show (Jan. 1975).
Slide #27-2-4 in Archives West.
Provenance
Purchased by Richard Flanders Smith at a public sale along Route 222, north of Willow Street. Given to the Lancaster County Historical Society with the understanding that it would become part of the Heritage Center collection with the establishment of that institution.
Foxing or brown spotting over much of surface. Some tears along the edges. Moisture or adhesive stain at bottom center.
A condition report and treatment proposal was done by the Conservation Center for Art and Historic Artifacts in Philadelphia in 1986. Matted and framed by conservator Brian Howard of Carlisle in 1996.
Object ID
G.77.50.11
Place of Origin
Conestoga Twp.
Credit
Gift of Mr. & Mrs. Richard Flanders Smith, Heritage Center Collection
Framed vorschrift on laid paper with German text penned on both sides with dark iron gall ink. Paper is folded with two strong creases, creating four quarters of the sheet. Half of "front" side contains illuminated vorschrift with four letter styles.
Top line in very large, ornate letters reads, "Wohl dem der..." Initial letter "W" is oversize and decorated with scrolling acanthus leaves. Arching over this line is a horizontal vine with flowers and pomegranate. The religious text in script ends with what appears to be Psalm 112. It ends with a final line in fraktur lettering reading, "Heinrich Miller, in Canastogen Townschip, Anno 1782."
One quarter of same side states, "Vorschrift Vor Heinrich Miller, in Canastogen Townschip, den 5ten Martz, Anno 1782."
Reverse side has a text in German script framed with a lined border. It has ten lines including numbers and alphabet, and it ends with the same line as above, "Heinrich Miller, in Canastogen Townschip, 1782."
Fraktur scholar David Johnson identified this artist as Friedrich Hartman, likely a schoolmaster. Hartman is found on no records but the 1790 Census, in Conestoga Twp., suggesting that he owned no property. Other Hartman pieces were found in the 1986 Fraktur Harvest (see this file).
This vorschrift relates closely to work done in northern Lancaster County near Ephrata Cloister although the artist is not known to have had connections in that community.
Provenance
HC purchased at Scott's sale through Christie's for $1265.00, Jun 11, 1994. This piece was likely collected by Scott in his usual manner, purchase at sale in Lancaster Co. or region.
Mounted in frame folded in half: H: 8.25" W: 13.125"
Frame is H: 16.25 W: 19.25"
Condition
Good
Condition Date
2016-10-24
Condition Notes
Overall soil with many stains. Edges are ragged, a 2-inch-long sections is cut from one corner. There is breaking at creases and losses where heavily inked. Paper loss where crease coincides with lettering as well as tulip-shaped flower.
Matted and framed by Carlisle conservator Brian Howard in 1996.
Object ID
P.94.13.3
Notes
This fraktur is recorded in the Winterthur Library: Decorative Arts Photographic Collection, NEH 475, 17-19 (per Christie's)
Pictured on p.15, of Fraktur: Folk Art & Family by Corinne & Russell Earnest.
Fraktur is a broadside of a spiritual labyrinth or maze, hand drawn and lettered on laid paper with brown ink, in German. Within a double-line border is a title at top, with a paragraph underneath. Entitled "Geistlicher Irrgarten, / mit vier kandenbrunen", translated Spiritual Labyrinth (or error garden) / with four wells of grace." The remaining 3/4 of the page is a maze with text within the pathway. At the center of each quadrant of the labyrinth is positioned a rectangle (or well) listing several Bible references. Framed in wood frame painted with diamonds.
Drawing is riddled with pin-prick holes. These are apparently a result of the maker's method of plotting out the labyrinth, using an instrument that left a hole at each right-angle turn.
A watermark is positioned sideways in the upper half of the paper. It is a circle surmounted by a crown, a bell below the circle and a rampant lion within the circle. No exact match with any watermark found in American Watermarks 1690-1835, though some are similar, e.g. # 887 & 889. Framed in
Place of origin is unknown.
Provenance
Note: Borneman states the spiritual labyrinth appears in German as early as 1630. In Pennsylvania, broadsides of this title were popular. The reader must keep turning the paper to follow the text, necessitating over 100 turnings. The text eventually leads the reader back to the beginning. Borneman explains the 4 wells of grace (p. 25, Pa. German Illustrated Manuscripts).
Damage at all fold lines; either broken completely or partially. Center fold line mended with tape on reverse. Moderate to heavy stains scattered over surface, especially at middle of right edge and along center horizontal line. Dark heavy stains/accretions (mold?) along horizontal center line. Corners dog-eared with minor losses. Pin-prick holes throughout. Conserved in 2003 by Maria Pukownik; see photos & documentation.
Object ID
G.02.35.1
Credit
Gift of Greg K. Kramer & Co., 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
