Watercolor of Lancaster County farm, title "FAIRVIEW FARM/ HOME OF AMOS BOWMAN" at bottom. Done on paper pasted down on acidic board (on reverse is printed: "WINSOR & NEWTON'S...38, RATHBONE PLACE, LONDON, ENGLAND." Paining is done over a pencil sketch, lines still visible. Artist employed a muted palette with a predominant use of gray.
Within a line border is a stone farmhouse surrounded by tall trees, barn and other outbuildings. Five people are busy working on the property. Road passes in front of farm and is bordered by two white picket fences. An uncovered Conestoga wagon and a horse and buggy are passing on the road. In the forground is an open pasture with grazing cows.
Amos Bowman was born in Providence Twp, Sept. 25, 1849. His father was a Reformed Menno. minister & bishop, but Amos became a farmer and eventually bought his present 60-acre W. Lampeter farm from Abraham Herr in 1868. He married Barbara Weaver, also a child of a Ref. Menno. minister (Joseph Weaver). The had no children and were active in the Reformed Mennonite Church. Amos was also active in the affairs of the twp., but since 1870 has been retire from both public affairs and farming. (p. 829 of Biog. Annals)
More information in file.
(Written by Wendell Zercher)
A monogram "JCR" is painted by artist at bottom right. Attributed to Julius R. Capel Rowley, artist & illustrator, who painted similar watercolors of homesteads for many individuals who were subjects of the 1903 Biog. Annals of Lanc. Co. Interestingly, Amos Bowman did not pay to have his farm included in the publication like so many other. Artist resided at 115 N. Lime St. in 1903 (City Directory). Rowley was the son of Rev. Julius Henry Rowley, M.A., rector of Walsby, near Market Rasen, England
Oil on canvas portrait of Rev. Hans Herr (1639-1725), attributed to Baron Leon von Ossko, unframed.
Painting depicts elderly gentleman with nearly shoulder-length hair and long beard, wearing a plain brown coat with two buttons showing at front; plain dark background. Up-cast eyes and unsmiling face denote a properly pietistic expression for this patriarch and pastor of the first group of Mennonites to settle in Lancaster County in 1710. At upper right hand corner in block letters is painted "HANS HERR."
Canvas is attached with tack to sides of a mitered stretcher. The miters are fitted at back with a cast iron device embossed with two patent dates of 1883 and 1885.
The book Genealogical Record of Rev. Hans Herr & His Lineal Descendants depicts a copy of this painting, noting that it was painted by John Funk. Von Ossko reportedly produced a number of these paintings for the Herr descendants, apparently copying the original Funk portrait. The artist married a descendant of Hans Herr, Ella Louisa Breneman, in 1884. They lived in Lancaster City. Marrying into the Herr clan likely sparked the idea for generating copies of the patriarch on canvas.
(Written by Wendell Zercher.)
Provenance
The Farmers (Mr. and Mrs. C. Richard Farmer) say they obtained painting from an unknown source. They gave it to their son years ago, but he never used it.
This painting was after the original by John Funk of Strasburg.
Puncture of 1/2" x 1/2" to right of sitter's left eye; near complete puncture at bottom, 7" in from right corner, with pigment loss. A ft-long scratch begins at right of sitter's curl and extends obliquely to lower right corner. Some pigment loss at edges; deterioration of canvas and tacks failing along left edge. Soiled overall. A small piece of paper is affixed at back to repair the major puncture. Recent tacks added to secure canvas at sides.
Framed theorem of stencil-painted fruit on light brown cotton velvet. Painting is a still life of variously colored fruits: melons, peaches, apricots, a half-eaten pear, grapes with leaves, plums and a pomegranate. Composed on a blue-colored base or table. An insect is depicted near bottom center below grapes.
There is no border signature or date. Frame is a flat-profiles with walnut veneer facing.
Provenance
Found in the Slaymaker attic among other framed objects, in very dirty conditions. Unknown maker, but possibly done at a Moravian school such as the one at Lititz. See Slaymakers at Linden Hall on page 147 of Slaymaker history.
Taken to Dottie McCoach for conservation June 1, 1998. Returned Sept. 17, 1998. See report in this file. After treatment the piece is still dark, stained and moisture damaged along the bottom.
A: Watercolor on wove paper of J. Crump Tannery, Marietta, Pa, depicting a panoramic view of the Klumpp Tannery and residence, viewed from Front St. The white 2-story frame house with one-story addition is in the foreground on the left with a man and woman by the front door. The tannery complex with smokestack is on the right, set further back from the street with the tanning operation underway. A man in a small horse-drawn carriage is in the street in the front and a boy chasing 2 chickens is in the yard between the house and tannery. A brick church is in the background center.
John C. Klumpp's Tannery was built by P. Moyer on Locust Street between 2nd St. (now E. Market) and Prospect Alley in 1815. Klumpp acquired the tannery in 1874 and operated it until his death in 1901. The tannery occupied lots 69-70-71-72, Strawberry Alley ran beside the Klumpp residence on the left. To the rear of the dwelling, behind the fence can be the kitchen garden and outhouse.
Signed bottom left, in ink, "P. Meissner./18/1/76."
2 photographs of tannery:
B: Black and white photo showing roughly the same view as A, although closer to ground level. The house is on the left and the tannery on the right. At least five people are sitting/standing on the porch of the house facing the yard. The buildings appear mostly unchanged from the watercolor. The date "1908" is written in the lower left corner in ink.
C: Black and whit photo of the tannery from the back. Four separate buildings of varying design can be seen in a row, with the smokestack extending up out of frame slightly right of center. A stone bridge over a creek is at extreme right, with creek running around the buildings to the left. The date "1929" is written in the lower left corner in blue ink.
The photographs appear to be photographic copies of the originals. They were attached to the paper backing covering the frame of the watercolor.
A: watercolor has brown staining all over, especially apparent in the sky. Further discoloration along the top edge. The pieces was cleaned (dry and wet), mended, and flattened by the Conservation Center for Art and Historic Artifacts in Philadelphia in 1991.
B,C: Photos. B is browned and faded at the edges and curves inward. Both B and C have tape and backing residue on the reverse. They were dry cleaned, mended and flattened by the CCAJA in 1991. Further details available in file.
Decorated wedding handkerchief, square shaped, of plain weave bleached linen. Three sides arrow hemmed and one is selvage.
Embroidered in multicolored cotton and silk. Along with the normal cross stitch is extensive use of chain stitch. Within a red chain-stitched border is sparse decoration: a tulip variant is embroidered near each corner, and a symbol similar to an infinity symbol is located along the center of each side.
"CATY CASSEL 1808" extends along one side of border. A multicolored alphabet is done in upper-case script along two sides (except for a distant 'z') and 'a b c d' in lower case script is embroidered near one corner.
In 1997 exhibit "Just For Show," Tandy Hersh noted that scholars are puzzled by the presence of decorated handkerchiefs among the Pa. Germans. They are very rare. This is one of only 20 that have been documented. In Europe, handkerchiefs celebrated betrothal or marriage. It is unknown if the tradition continued in America, though one handkerchief made in 1787 in Warwick Twp. is associated with the maker's wedding. Tandy notes the Pa. German women produced handkerchiefs between 1768 and 1830. Motifs were apparently arranged so that they could be viewed from all four sides.
(Written by Wendell Zercher.)
Provenance
The Wedding Handkerchief is one of five items given to the society by Hampton C. Randolph, Sr. of Lansdale, PA, in 1997.
Clarke Hess purchased from dealer, Jean Cook, who states this came out of a home in Montgomery County. Hess then sold to donor. Cassels were living in both Mongomery and Lancaster Counties.
Needlework family register, cone in black cross stitch on canvas. A large pink fabric rose is attached to each corner with three smaller roses at the top, all with green fabric leaves and stems. The heading at the top reads "The/Family of/ Noah and Katie Fisher," then lists the names and birthdates of the parents and children (Rachel, Emma, Betsie, Salome, Amos, Susie, and Aaron). At the bottom is the following inscription: "When this you see remember me/Susie Fisher/ 1910", with orange and black diagonal lines above and below the date. The piece is currently in a simple wood frame with gold leaf.
(Written by Scott Sagar.)
Provenance
Stitched by Susie Fisher. This piece was purchased at the Mary H. Fisher sale held at Paradise Fire Hall, April 19, 1989. Given by Dr. & Mrs. Donald M. Herr.
There are small light brown spots over the entire surface. There are a few dead insects in the fabric roses. The gold leaf has chipped away in a few spots.
April 7, 2004- Replaced backing with acid free & removed insect carcasses for 2004 exhibit.
Wool work picture of a basket of flowers on a buff cotton background in a frame. A wide range of stitches was use, including satin stitches and French stitches. Brown, lattice-worked basked holds a very full arrangement of variegated flowers in bright hues. Flower types include tulips, carnations, forget-me-nots and a tiger lily. The arrangement also has leaves and branches. The double frame is molded and deep and woolwork is covered by old bubbled glass. The cotton background is stitched to an underlying fabric whit is in turn glued to the cardboard backing.
Inscription on reverse of cardboard backing is faintly printed in pencil:
WORKED IN WOOL BY MARY
BRINTON LEACOCK TOWNSHIP
IN PENNSYLVANIA 1849
(Written by William Carter.)
Provenance
Stitched by Quaker Mary Brinton in 1849.
Bought at sale at Brinton property by Vernon Gunnion. Same as drawing by Susan Brinton (P.96.11.1) 259-A Mascot Rd.
Pole firescreen with mounted sampler by C. Carpenter. Late Federal style firescreen, tripod form, with Hepplewhite legs supporting a tapering, turned pillar with urn and inverted trumpet turning above legs and a ring and button turning below legs. Turned ball-and-ring finial doweled into top.
Sampler is set into a walnut frame (22.75 inches square) and attached to pole by two loops of strap iron screwed to back of frame. Sampler is worked on scrim with polychrome wools. A floral vine border has a spray of flowers inside each corner and a large floral bouquet at center. Underneath central bouquet are three lines: "Wrought by /Christiann Carpenter/ AD 1843."
The outside border of green silk is over 2 inches wide and has a pleated circle of the same silk at each corner. Reverse side is covered by green velvet.
Provenance
Mrs. Isaac (Hilda) Weaver states she is unable to track down maker. Isaac Weaver's mother was Dorothy Christine Hartman (m. Herbert Bachman Weaver); her father was Isaac Carpenter Hartman; his parents were John Ives Hartman and his first wife Anna Weidler; and Ann's father was Dr. Isaac C. Weidler of Upper Leacock. Mrs. Weaver surmises the Dr. Weidler's middle name was Carpenter.
Given in memory of Dorothy Hartman Weaver, mother of donor.
Top of standard has repaired break (plugged hole at back). Scarring and screw holes along shaft. Legs reglued with nail heads visible near top of each as well as glue residue at joints and under turned bottom.
Sampler is generally good; scrim is puckered overall as is silk border. Marked moisture stains at top right and bottom center. Dark soil/stains in area of inscription.
Pictorial sampler on unbleached linen ground, all edges bound with many colors of silk thread, in modern frame. Mostly cross-stitch, but also satin and other stitches.
The central panel is surrounded by a variety of motifs and devices. Segmented border at top and sides consists of a dark blue flowering vine rectilinearly zig-zags between the edge and the central panel, forming squares. The area between the central panel and the edge is, on each side, divided thus into five squares, each of which contains an embroidered device, such as flowers, hearts, geometric designs, clover, etc. This vine begins 1/5 of the way in from the left on the bottom and continues clockwise across the top and 3/5 of the way down the right side. The devices are symmetrical on the left and right edges. The bottom and right of this periphery contains a pictorial embroidery of Trinity Lutheran church of Lancaster in profile, two women in dresses, and two trees with birds on top.
The square, central panel has a two double-rowed rectangular checkered borders separated by a zig-zag vine with flowers internally, this central panel is divided into five areas. The top panel contains the words: "Ann Herbst a daughter of Henry/ & Elisabeth Herbst was born the / 10th of August in the year of our/ Lord 1792 & made this sampler in/ the 9th year of her age in Miss Ar/ mstrong's school AD 1801." In the middle of the panel: "O come let us/ sing to the Lord/ come let us evry (sic)/ one a joyful nois/e make to the/ Rock of our salvation." Bottom left: "o Lord thou art/ my God and king/ thee will I magnif/ y and praise I will." On the right panel: "Ann Herbst is m/ y name Lancast/ er is my Habitati/ on Kings street is/ my dwelling place/ & christ is my sal/ vation the rose is/ red the leaves/ are green the/ day are past/ that I have seen."
Conserved by Dora Shotzberger at Winterthur in Jan. 1989. Four dark stains along top edge; hole in middle of right side; damage to embroidery in both bottom left corner of church and in third floor window of church.
Perspective colored drawing of two buildings apparently on southwest corner of the Moravian Church Square (est 1757) in Lititz. The artwork is signed at lower left by artist Samuel A. Steel and dated May 20, 1863. It also read "Copy 2nd." Modern framing is done in a dark gray window mat and black wood frame.
Drawing (17.5" high x 20" wide) is done on off-whit paper in pen and ink; the water-colored rendering at bottom is of a stone building and a clapboard building, nearly touching at their corners. Perspectives of the buildings are projected above the watercolor via extended dotted lines, showing three views of the larger stone building (facade, end and floor plan), but only two views of the smaller one (facade and floor plan). The stone building at left was originally the Single Brethren's House, built in 1759. It is now stuccoed and stands next to the Moravian Church. The smaller building at right is unknown and is no longer extant.
Large open lettering impressed on paper at bottom right reads: "WHATMAN/ 1859." Probably a watermark or imprint of artist's firm?
Below framer's sticker on back is an older printed sticker apparently removed from previous frame job (John Wanamaker) and affixed here.
(Written by Wendell Zercher.)
Provenance
Believed to have been purchased by Chris Machmer (antiques dealer of 146 W. Main St. in Annville) at the antiques markets in Adamstown sometime within the past ten years (this was written in 2003) and offered to this museum (The Heritage Center) several year ago for $7,000. Finally purchased by Museum at Conestoga Auction sale of Chris Machmer antiques following his death this year (2003).
Generally good with light soiling overall. Variety of stains (moisture and colored) over surface. Darker discoloration along top edge as well as to left of colored rendering. Tears visible at edges. Creases throughout center of paper. Framed in recent years by Gallery 444 Ltd. of Hershey, PA, but frame was damaged at front of sides while handled at sale. Minor scars elsewhere. Dust cover at back is punctured at top center and along bottom.
