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
Eight-day, tall case clock by John George Hoff, Sr., in a flat-top Chippendale walnut case.
Brass dial has pewter chapter ring with Roman numerals for the hour and Arabic numerals for the seconds. Separate seconds dial below XII. Pewter spandrels. "George Hoff" engraved at bottom of dial, above a calendar window. Painted moon wheel at top has moon on a field of stars.
Bonnet has molded cornice, arched door and arched side windows. Engaged columns at all four corners. Waist has wide chambered corners with lambequins at top and bottom. Door has arched top and molded edges; brass escutcheon (replaced?); door is hung by two brass steeple butt hinges. Base has plain sides and chamfered corners that match those at waist. Molding above four ogee bracket feet.
J.J. Snyder notes that this clock case with wide chamfers relates to other pieces with the same feature, e.g. G.03.1.1 (Jenkins family bookcase on desk) and P.78.76 (Old family bonnet top high chest). The Hoff clock chamfers, however, are not fluted like the large case pieces.
See photo of clock in Wood and Kramer's clock book, p. 37.
Provenance
Professor Kauffman said on 4-23-99 that he purchased this clock from a dealer after Joe Kindig refused it because it was a flat top. A receipt (now in file) was tacked to inside of clock case documenting the purchase from collector/dealer Melvin Hubley of Lancaster City in 1955 (cost $545).
Modest wear, right side light is cracked, molding missing at right side of waist at bottom. Base is scarred, some cracks, especially aroung feet and moldiing. Unfilled nail repair holes at base.
Finish has orange peel surface.
Object ID
G.96.37.1
Place of Origin
Lancaster
Credit
Gift of Henry J. Kauffman, Heritage Center Collection
8-day musical clockworks by Mennonite Christian Eby (c.1768-1803) of Manheim. Housed in a large, inlaid cherry case attributed to Emanuel Dyer. Case is transitional from Chippendale to Federal, although strongly Federal due to inlay of eagle and floral motifs on tympanum, quarter fan inlays and another floral inlay on waist section, and a patera centered on the base within a cartouche of line inlay.
Notes: Weight, key, and various parts located in box on Unit 52, Bottom Shelf.
Hood has side lights, fluted colonettes at sides, swan's neck scrolls terminating in inlaid paterae, three ball and spire finials (spire missing on center finial). Waist and base have fluted quarter columns. French bracket feet.
White-painted iron dial w/ Roman numerals on chapter ring. Seconds use Arabic numerals. Floral spandrels, lunar dial and inscription "C EBY Manheim under XII. Above lunar dial are ten names of tunes played by the musical works. Dial attributed to Reading area due to a dark moon wheel and the 2 hemispheres for the moon phase are identical (per Gary Sullivan). He also notes that brass-clad weights are very unusual, and usually an English practice.
Provenance
Ex Renner (per Gary Sullivan, clock dealer). Later from estate sale of Pauline Heilman of York, PA by Sotheby's July 17, 1982. The buyer, a private client of Citibank, put clock in storage in Florida, then consigned it Christie's where HCLC purchased Jan. 1992.
John and Carol Pyfer paid $800 for Quentin Johnson to repair the clockworks and get it running in 2004. Clock hands have losses (pieces in a box stored in clock bottom), repaired by Johnson. Case refinished (see early photos in file). Scratch on side to left of pendulum door; nicks & scratches at left side vertical member of opening to pendulum. Marred overall. Split at left side of front section of molding under hood. Pieces of string inlay replaced. Proper left back foot loose; proper left front column loose. See Gary Sullivan condition report (loan to Willard House)
Object ID
P.92.02
Notes
Made by Christian Eby (c.1768-1803), working 1792-1803. Case attributed to Emanuel Deyer.
J.J. Snyder notes, "The clock is significant because it is the only known Lancaster Co. eagle-inlaid clock with a musical movement. Musical movements predating 1840 are quite rare, and fewer than eight Lancaster Co. musical clocks prior to 1840 are known to survive. The inlay is unique in the placement of the eagle in the center of the pediment rather than in an oval medallion above the pendulum door and in the use of floral inlay in addition to the eagle. In summary, the Christian Eby clock is a masterpiece of not only regional but also national importance."
Snyder also states "Unquestionably, this is one of the most elegant and sophisticated pieces of Lancaster County Federal furniture now known." He adds "Of all the known Lancaster County eagle-inlaid clock cases, this one alone has floral inlays. In view of the fact that this case must predate Christian Eby's death in 1803, it stands as the earliest known use of the eagle as a patriotic device in Lancaster County furniture."
Snyder also suggests Manheim cabinetmaker Emanuel Dyer (1760-1836) as the probable casemaker. Working for about a half century starting in the early 1780s, Dyer was the leading Manheim cabinetmaker.
Place of Origin
Manheim
Credit
Gift of members and friends of the Heritage Center, Heritage Center Collection
Lathe-turned wooden tar bucket with fitted lid and remnants of leather straps. Cylindrical vessel has slight taper inward toward middle. Decorated with two double score marks below center. Above center are shoulders jutting outward with vertical holes through which straps of leather handle pass. Handle also passes through lid of conforming shape, although one strap broken off at shoulder while the other is broken off 3 inches above shoulder.Center hole in lid apparently accepted a now-missing stick used to apply tar to wheels. Broken-off 5-inch length of leather strap rests inside. Tar residue in bucket.
Lancaster County or region.
Provenance
Donor believes bucket descended from family members to his parents who displayed it on their mantle. Donor inherited it from parents.
Bunch of grapes, carved wood, gessoed and painted dark purple/blue with green leaves. Iron hanging ring attached at top; cluster hangs from a reproduction decorative hanger (see notes).
This bunch of grapes was said to have hung at the Grape Tavern (Sign of the Grapes) at 32-34 North Queen Street, Lancaster, most likely on the interior. This fragile object would not have stood up to outside weather. (Ellis & Evans, writing in 1883, state, "The wrought iron bunch of grapes now hanging in front of the hotel was made for, and used by, Adam Reigart.")
The Grape tavern was built in 1741 by John Harris, then sold at sherrif's sale to Adam Reigart, Sr. in 1769. He ran it from 1769 to March 3, 1794, when John Michael took over ownership. During his ownership, the tavern began its most opulent elegance as well as being called by various names including The Grape, Conestoga Waggon (sic) and Michael's Hotel. He ran it until May 5, 1821, when it was purchased by his son John Michael, Jr. who kept it until 1839, restoring the original name. According to Ellis & Evans, John Michael, Jr. moved the tavern, with the "old familiar sign" to the adjoining lot in 1839. It was then known by the original name as well as Michael House.
Provenance
Once owned by W.U. Hensel (1851-1911) who lived at the historic "Bleak House" near Kinzer, where it hung on the porch. He had a collection of early Lancaster signs.
Pictured on frontispiece of booklet of Hensel's address in 1912 on "Jacob Eichholtz, Painter." The grape sign was sold at the estate sale (March 1947?) of Hensel's daughter Elizabeth Hensel Nauman and purchased for $320 by William Lebzelter of Lancaster City, whose family owned the American House which was successor to the Grape Tavern (Groff and Wolf Dept. Store at time of sale).
No record in file later than this other than the name of seller, Marian L. Schaffner. She was the wife of physician Meade D. Schaffner, on Columbia Ave.
Paint chipping in some spots; some wood loss at tips of some individual grapes. Iron hanging ring has minor rust spots. Minor losses of gesso repaired, gesso loss between grapes at bottom. Nail repairs. Repainted at some date prior to 1984; painted at least once before. Wood at top shows deterioration.
Object ID
P.77.72
Notes
Ellis & Evans, pp. 363, 394 1/2 and 395.
Multiple references in this file including newspaper articles.
Booklet entitled "Jacob Eichholtz, Painter", an address given by W.U. Hensel Nov. 22, 1912 (eve of portrait exhibit at Woolworth's)
Hanger is a reproduction scrolling wrought iron bar with eight small swirls along the top, and is attached to a heart-shaped iron mounting plate. Made by Thomas C. Moore of Glen Rock in January 1978, based on a drawing and painting by David McNeely Stauffer (P77.31.57 and P77.31.22).
Maker is unknown.
Place of Origin
Lancaster County
Usage
Grape Tavern
Credit
Gift of James Hale Steinman Foundation, Heritage Center Collecti
British Royal Coat of Arms, 1786, attrib. to the "Early Ephrata Artist," (active c. 1780-1786). Manuscript watercolor version of this design is modified to depict the Germanic sentiments of the artist following our overthrow of English rule. As before, the rampant lion (England) is on the left and the rampant unicorn (Scotland) on the right. However, the lion is now chained and uncrowned. Replacing the central shield is a large flowering plant with a typical Pa-German large parrot perched on the lower branch and a crown above. Large flowers are prominently added to this image.
Lettering at bottom center reads: "Phil(i)p[sic] Horning/ hat In ge-macht/ 1786" Recipient Philip Horning's name is followed by the artist's phrase: "Made in 1786." This should not be read that Horning "made this in 1786."
Pa. Germans saw a kinship between the Royal Coat of Arms and the German Hanoverian kings who ruled the United Kingdom throught the 18th century.
Klaus Stopp, Printed B&BC of the Pa. Germans, Vol. II, pp. 108-113
Height (cm)
34.925
Height (ft)
1.1458333333
Height (in)
13.75
Width (cm)
41.275
Width (ft)
1.3541666667
Width (in)
16.25
Dimension Details
Frame is H: 22.25 W: 25.25"
Condition
Good
Condition Date
2017-03-23
Condition Notes
Multiple vertical and horizontal creases overall. Some paint loss, especially on lion's head and face, and flower in upper right corner. Brown stains overall.
A treatment proposal made by Conservation Center for Art and Historic Artifacts, May 1986, and the following treatment was done in 1988-89: consolidated ink and paint, old backing removed, tears mended, cleaned, losses in paper filled, flattened, and matted. Details in file.
Matted and framed by Brian Howard of Carlisle in 1996
Object ID
P.77.51
Notes
This unusual watercolor gives a Germanic spin on the heraldic design. While the lion stands for England and the unicorn for Scotland, replacing the central shield is a large parrot perched on a flowering plant. Large flowers are also prominently introduced into the composition. Painted after the war of independence, the lion is now portrayed uncrowned, with a chain at his neck. This is a strong statement of the artist's Germanic sentiments.
This is one of the last known pieces done by the Early Ephrata Artist." He was given this name since he decorated early Ephrata prints having no bird-panel printed borders. The Earnests note he used heavy color and his motifs were primitive, despite the ambitious decoration and design he attempted such as this fraktur watercolor. He ranks among the earliest fraktur artists to decorated printed forms, along with Otto, Hoevelmann and Speyer.
See:
- Earnests' "Papers for Birth Dayes", pp. 213-214 for info on the Early Ephrata Artist.
- Klaus Stopp, The Printed B&BCs of the German Americans, Vol. II, pp. 108-113.
Place of Origin
Lancaster County
Credit
Gift of James Hale Steinman Foundation, Heritage Center Collection
Hand-drawn, lettered and colored fraktur is a Birth and Baptismal Certificate made for Johannes Muller b. 13 Apr 1771 in what was then Lebanon Twp. Lancaster Co. (Lebanon created 1813). Center text block has biographical information and 3 lines of scripture below mentioning the cedars of Lebanon (final 3 words). Double-line blue border surrounds top and sides of text. Along top of border are 28 green trees (likely cedars of Lebanon) and a winged cherub's head over all. A pair of identical redcoat soldiers are at each side of text block, one above the other. Each has a tall black hat with "tail", a long cane, a sword, moustaches and a long pigtail tied with a bow. Top two soldiers have a leafy twig extending from mouths, and all four stand on small green trees, similar to the above. At bottom is an arched branch of stylized leaves, a center 8-point flower and two downturned tulip-like flowers at sides. Colors used are green, yellow and red with blue line border.
Parents were Johannes(?) Muller and wife Susanna, born an Alomer(?). REb. Buchry(?) baptised him at unknown date. Witnesses were Johanes Schweigert and wife Lehnore.
Pencil calculation done under first text block is "Died Sept. 13, 1860. Aged Eighty nine years & five months."
Lebanon Twp., Lancaster Co. (now Lebanon Co., formed in 1813)
Perhaps made by Christian Mertel or similar artist (per F. Weiser).
Structurally intact but color still good. Some breaking at fold lines and some raised and folded fold lines. Brown moisture stains over most of surface with dark, heavy tide lines. Two pieces of cellophane tape along left side where soldiers' hat "tails" have iron gall ink losses. Paper edges worn, torn, with losses, creases and folds. Various losses (holes), mostly where iron gall ink was used. Frame not likely original to fraktur. High profile beaded moldings on a walnut frame; finish aged with craquelure.
Object ID
2017.999.2
Notes
Appraisal conducted by Pastor Fred Weiser, Sept. 2, 1988. He says it was reproduced in Landis Valley catalog.
The Fraktur was included in a Landis Valley publication called "Pennsylvania German Fraktur and Color Drawings, Exhibited at Pennsylvania Farm Museum of Landis Valley, Lancaster, Pennsylvania," 1969. Plate #71. In LancasterHistory library (740 P415)
