Cane or walking stick of wood. The handle end is carved with the bust of a man.
Carving is the likeness of General Lafayette (1757-1834) who, according to family tradition, presented this cane to Amos Slaymaker when Lafayette visited White Chimneys and dined at the Slaymaker's tavern/hotel "The Pennsylvania Arms" during his grand U.S. tour in 1825. Carved gentleman wears a coat, jabot and high collar and is highly detailed. Executed in light toned hardwood, hair has light brown stain and pedestal portion is stained dark. Band of copper alloy below pedestal. Shaft of cane tapers to an end and is stained brown. Two-piece copper alloy tip, secured with two small nails.
Provenance
Passed from Amos Slaymaker through 5 generations of Slaymaker family and donated by Mrs. Samuel R. Slaymaker II.
Multiple minor nicks in carving and shaft with some loss of finish, esp. near bottom tip. Superficial checking/splitting in wood. Copper alloy tip is discolored with minor corrosion and band at top has multiple small dents. Cane tip not worn, thus not used.
Object ID
G.98.12.8
Notes
See page 30 of History of the Slaymaker family.
Place of Origin
France
Credit
Gift of Mrs. S.R. Slaymaker II, Heritage Center Collection
Birth & baptismal certificate on laid paper. Printed form with central textblock in German within a multiple line border. Infilled and decorated around textblock by Speyer; cross-legged angel at top, pelicans feeding young at sides and flowers at sides and bottom. Watercolors are red, blue, yellow, green and brown.
Infilled for Johannes, son of Valiendein (Valentine) and Eliesabetha (Elisabetha) Bohmer of Brecknock Township in Lancaster Co., born Dec. 13, 1788.
Georg Friederich Speyer (active 1774-1801) used this printed form produced c. 1789 by Barton & Johnson of Reading. See Notes.
General wear with numerous creases and wrinkles; one pronounced vertical centerline crease. Repaired tears, esp at left edge. All edges are ragged and uneven, esp. at right.
Conserved by CCAHA in 1989 (see report in file). Hinged into window mat & back mat. Relaced in its original frame using UF-3 Plexiglas and acid-free cardboard on reverse with a taped mylar dust shield.
Object ID
G.77.50.1
Notes
Printed form by Reading printers Thomas Barton and Benjamin Johnson, circa 1789 (see Klaus Stopp, The Printed Birth & Baptismal Certificates of the Pa. Germans, v. 4, p. 84). Speyer used this printed form for Johannes Bohmer who was born the previous year in1788.
Place of Origin
Lancaster County
Role
Artist
Credit
Gift of Mr. & Mrs. Richard Flanders Smith, Heritage Center Collection
Light orange-brown brick with one dark face and consistent quality clay. Dark face shows much scratching, including very promnent I A one right side (or J A for John Andre, British officer). From fireplace of Caleb Cope house, 27 N Lime Street, Lancaster, where John Andre was a prisoner of war. Initials include those of of John Andre, Thomas Cope, and others.
Oil painting of person walking on road toward river where 3 sailboats are visible. Red and yellow leafed trees with hill on opposite side of river visible in background. Painting on piece of highly acidic wood. On reverse "EICHOLT PAINTING FROM PONTZ ESTATE." Frame is three eighths inches with gilded top/front surface and one eighth inch curved bevel.
Oil painting of fall colored trees on land jutting our into river. Two small white sails on water. backed on a piece of highly acidic wood. Frame is three eighths inches, gilded top/front surface with one eighth in curved bevel.
Pictorial sampler by Elizabeth Martin, dated 1825, depicting Rock Ford plantation house. Silk embroidery on linen is 3 shades of blue, dark green, light green, white, black, grey, and at least 4 shades of brown (including tan). Original frame is likely walnut with reeded molding and corner blocks; lapped corner joints.
Strawberry vine border. Alphabet top is centered over 1825 date and flanked by 8-pointed star each side. Beneath date is brick residence, showing front and gable end, believed to be Rock Ford plantation house. The 3-bay dwelling has 2 arched doorways, 8 windows, and two chimneys. House is flanked by a near-symmetrical arrangement of 2 large flowering tree motifs at each side; outer one surmounted by a large bird. Small crown at each side next to border.
Three verses below house; main verse at center states: "Elizabeth Martin is my name / Lampeter is my Station / heaven is my dwelling Place / and christ is my salvation / When i am dead and in my Grave / and all my bones are rotton / When this you see remember me / Least i should be forgotton." Flanked by verse of wisdom at left and religious verse at right, each framed by a flowering vine. Under verses is a horizontal row of 9 sets of initials all ending in the letter "M", certainly indicating Martin family members.
Bottom third of sampler is a large, central flowering plant flanked on either side by confronting female figures, each holding a bird on raised hand toward the central floral motif. Each woman is standing in front of a large satin-stitch embroidered haystack(?), with a large bird atop each.
See NOTES.
Photos: Negative is "Samplers" #43c. Slides are 45-3-1 to 45-3-6 and 45-9-3 to 45-9-8
Provenance
Inherited by Winona Ressler, then passed on to sister Elizabeth Ressler (Findley) upon Winona's death. Maker was the great, great, great grandmother of donor's wife Elizabeth Ressler Findley (born July 31, 1918) and her sister Winona. Descent in family through their maternal grandmother. Family history states sampler was made when Elizabeth Martin was 10-12 years old.
Research: Parents of Ressler sisters were Jacob and Emma K. Mowrer Ressler. Maternal grandmother was likely Mrs. Mowrer?
Age darkened linen. Dark around edge to upper left, across top, above house and around upper right edge area. Slight fraying in some areas around edge.
Stain around stem of right flower in bottoom central flowering design motif. Two dark stains above the word "my" in right phrase, a 3rd stain to right at base of flowering plant.
Conserved and remounted in original frame by Dora Shotzberger of Winterthur in 1986.
Object ID
P.85.05
Notes
Sampler is possibly influenced by the Leah Galligher school of Lancaster Borough. See Betty Ring, "Girlhood Embroidery" Vol. II pp. 410 ff.
Place of Origin
Lampeter Twp.
Credit
Heritage Center Collection through the generosity of James Hale Steinman Foundation
White porcelain plate with 1.25" pink border and narrow gold outline. Central motif is a floral and foliate design of concentric rings. Outer ring radiates 12 elongated flowers or tassels. One of five plates.
Underglaze cursive inscription on bottom: "Feuillet rue de la paix no. 20." Jean-Pierre Feuillet, Decorator (French, 1777-1840). See Notes
Additional pieces of this set of dishes in collection are 2013.008.
Rue de la Paix (decorating studio), Paris
Provenance
Descent within Buchanan and Henry family to Pamela Henry (daughter of Frank Anderson Henry, Buck's youngest son) to Louisa Dent (donor).
"Feuillet introduced a porcelain decorating studio at the Rue de la Paix, Paris in 1820. The products came chiefly from the Royal Factory Sèvres. His successor was Boyer (1845)."
Another seller writes:
"The Feuillet studio was at 18, Rue de la Paix, advantageously located for the wealthy denizens of the area to come visit and make purchases. The Prince of Conde gave Feuillet his protection, thus assuring a constant flow of high-end clients. Feuillet's design atelier reached its apex in the mid-1820s, lavishly decorating some of the most remarkable plates of the time. The combination of rich paste gilding, saturated border colors and meticulous fruit or floral still life paintings made the factory's output one of the favorite choices, other than Sevres, for purchase by the new French Regime. According to the book "Paris Porcelain" by Regine de Plinval de Guillebon, "Feuillet was one of the best decorators in the Restauration period," (Paris Porcelain, page 244)."
White porcelain plate with 1.25" pink border and narrow gold outline. Central motif is a floral and foliate design of concentric rings. Outer ring radiates 12 elongated flowers. One of five plates.
Underglaze cursive inscription on bottom: "Feuillet rue de la paix no. 20." Jean-Pierre Feuillet, Decorator (French, 1777-1840). See Notes
Additional pieces of this set of dishes in collection are 2013.008.
Rue de la Paix (decorating studio), Paris
Provenance
Descent within Buchanan and Henry family to Pamela Henry (daughter of Frank Anderson Henry, Buck's youngest son) to Louisa Dent (donor).
Very small (1/2" long) area of abrasion on white, near inner gold band. Some soil on footring.
Object ID
2015.029.2
Notes
Research on E-bay has dealer's statement:
"Feuillet introduced a porcelain decorating studio at the Rue de la Paix, Paris in 1820. The products came chiefly from the Royal Factory Sèvres. His successor was Boyer (1845)."
Another seller writes:
"The Feuillet studio was at 18, Rue de la Paix, advantageously located for the wealthy denizens of the area to come visit and make purchases. The Prince of Conde gave Feuillet his protection, thus assuring a constant flow of high-end clients. Feuillet's design atelier reached its apex in the mid-1820s, lavishly decorating some of the most remarkable plates of the time. The combination of rich paste gilding, saturated border colors and meticulous fruit or floral still life paintings made the factory's output one of the favorite choices, other than Sevres, for purchase by the new French Regime. According to the book "Paris Porcelain" by Regine de Plinval de Guillebon, "Feuillet was one of the best decorators in the Restauration period," (Paris Porcelain, page 244)."
White porcelain plate with 1.25" pink border and narrow gold outline. Central motif is a floral and foliate design of concentric rings. Outer ring radiates 12 elongated flowers. One of five plates.
Underglaze cursive inscription on bottom: "Feuillet rue de la paix no. 20." Jean-Pierre Feuillet, Decorator (French, 1777-1840). See Notes
Rue de la Paix (decorating studio), Paris
Additional pieces of this set of dishes in collection are 2013.008.
Provenance
Descent within Buchanan and Henry family to Pamela Henry (daughter of Frank Anderson Henry, Buck's youngest son) to Louisa Dent (donor).
Dark firing imperfection, outside edge of rim. Small underglaze abrasion/repair(?) and very tiny area of abrasion on white, near inner bold band. Gold shows light abrasions. Minor soil on footring.
Object ID
2015.029.3
Notes
Research on E-bay has dealer's statement:
"Feuillet introduced a porcelain decorating studio at the Rue de la Paix, Paris in 1820. The products came chiefly from the Royal Factory Sèvres. His successor was Boyer (1845)."
Another seller writes:
"The Feuillet studio was at 18, Rue de la Paix, advantageously located for the wealthy denizens of the area to come visit and make purchases. The Prince of Conde gave Feuillet his protection, thus assuring a constant flow of high-end clients. Feuillet's design atelier reached its apex in the mid-1820s, lavishly decorating some of the most remarkable plates of the time. The combination of rich paste gilding, saturated border colors and meticulous fruit or floral still life paintings made the factory's output one of the favorite choices, other than Sevres, for purchase by the new French Regime. According to the book "Paris Porcelain" by Regine de Plinval de Guillebon, "Feuillet was one of the best decorators in the Restauration period," (Paris Porcelain, page 244)."
White porcelain plate with 1.25" pink border and narrow gold outline. Central motif is a floral and foliate design of concentric rings. Outer ring radiates 12 elongated flowers. One of five plates.
Underglaze cursive inscription on bottom: "Feuillet rue de la paix no. 20." Jean-Pierre Feuillet, Decorator (French, 1777-1840). See Notes
Rue de la Paix decorating studio, Paris
Additional pieces of this set of dishes in collection are 2013.008.
Provenance
Descent within Buchanan and Henry family to Pamela Henry (daughter of Frank Anderson Henry, Buck's youngest son) to Louisa Dent (donor).
Small areas of abrasion with paint touch-up under glaze. Two tiny areas of overglaze abrasion, as well as light abrasion on inner gold band. Tiny drops of gold and dark substance under glaze. Minor soil on footring.
Object ID
2015.029.4
Notes
Research on E-bay has dealer's statement:
"Feuillet introduced a porcelain decorating studio at the Rue de la Paix, Paris in 1820. The products came chiefly from the Royal Factory Sèvres. His successor was Boyer (1845)."
Another seller writes:
"The Feuillet studio was at 18, Rue de la Paix, advantageously located for the wealthy denizens of the area to come visit and make purchases. The Prince of Conde gave Feuillet his protection, thus assuring a constant flow of high-end clients. Feuillet's design atelier reached its apex in the mid-1820s, lavishly decorating some of the most remarkable plates of the time. The combination of rich paste gilding, saturated border colors and meticulous fruit or floral still life paintings made the factory's output one of the favorite choices, other than Sevres, for purchase by the new French Regime. According to the book "Paris Porcelain" by Regine de Plinval de Guillebon, "Feuillet was one of the best decorators in the Restauration period," (Paris Porcelain, page 244)."
