Watercolor of flowers done on tiny rectangular piece of wove paper. Two large red blooms with large, hairy green leaves, two smaller detached leaves and two flower buds. Detailing lines of black ink on three largest leaves.
Signed on reverse in black ink is "E Haverstick" beside a large smudged area of ink. Piece was perhaps made for a student as a reward of merit or simply a remembrance. Haverstick is believed to be a schoolmaster and was active in the 1830s.
Fold lines across paper. Faded with minor soiling. One corner has been clipped.
Object ID
P.04.34.7
Notes
Other Haverstick pieces in collections are Birth Certificates for brothers John Bachman (G.96.09.1) and Christian Bachman (G.00.23.1). Substantial research was done over the years to find evidence of Eli Haverstick, to no avail. Research and images of related Haverstick work is in Heritage Center's vertical file.
Oil on canvas. woman seated facing slightly to right wiht head facing more forward. Left arm draped over chair back. Brown hair parted at center, wearing low crowned cap with elaborate bows and lace coering ears to neck. Gray green eyes. Black pleated dress with stiffening around waist, v-neckline with embroidery or lace collar. Wrapped in soft grey shawl with left hand exposed. Low backed chair is reddish. Background is various browns. Stencil on back: 'A. Armstrong/Artist/ Lancaster, Pa." "1845" painted below stencil. Frame: wooden with multiple stepped profile on molding. Gilded.
Extensive craquelure. Raised stretcher line. Sagging canvas top left and left side. Scattered dark spots across right 2/3. Frame: good overall with worn gilding and inpainting and soil. Minor chips at outside edges. Back uncovered. Mortise and tenon stretcher with keys; some missing or replaced. At left bottom miter joint, a strip of gesso crack filler is loose and pressing against canvas.
Object ID
2009.020.1
Credit
Given in Memory of Marsha Sener Schuyler by Janet Godfrey Alspach and Gretchen Godfrey
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.
Watercolor in modern gold-painted frame, titled "Antibes." Landscape with four people gathered under a palm tree in the center and two more people on a bridge at left. Man-made tunnel under a hill at right. One building in detail at right and a city (Antibes, France?) in the background. A large body of water and mountains in the distance.
The following information is written at the bottom: "E. Breneman ANTIBES. Lyceum Institute/ Cedar Hill 1843." (E. Breneman was a student at the Lyceum Institute at the time that she did this watercolor.)
Other watercolors are known from the Lyceum Institute, but this appears[ears to be the earlier recorded example; believed to be painted after a print of this period.
(Written by Scott Sagar.)
Provenance
From a Franklin & Marshall University sale to W. Charles Laing to Warren Robbins, the donor. Rec'd Nov. 9, 1995.
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.
Mary Brackbill Eshleman (1769-1848) wife of Jacob Eshelman. She was the daughter of Benedict Brechbühl II and Anna Marie Kendig and upon marriage Mary lived at 38 S Belmont Road, Paradise PA. Her paternal grandparents were Ulrich Brechbühl (1703-1739), a well loved minister of Strasburg Mennonite Church and wife, Feronica (Herr) Brechbühl (1700-1780), a granddaughter of Hans Herr.
Provenance
Donated by Benjamin Franklin Eshelman born 1909 New Orleans--great-great grandson of Hans Herr.
Stamped: A. Armstrong, artist Lancaster, Pennsylvania
Written: 1845
Plaque: Mrs. Thomas Wentz (nee Catherine Evedon/Erdan) died March 18, 1817 Armstrong
July 24, 2017 Woman seated facing left with fact more forward, hands clasped on lap. Brown hair with center part; pronounced curl at left of head, hair gathered high on back of head. Brown eyes. Black, long-sleeved very high-waisted dress with low square neckline filled in with chemisette. Large single, frilled collar. Wide-band gold ring with stone on right index finger. Rede shawl wrapped around chair in back of sitter. Red upholstered chair with wooden arm. Background is brown. Stretcher is mortise & tenon with keys.
July 24, 2017. Extensive craquelure. Lines of abrasion along all sides, esp. at right, significant deep, crescent-shaped indentation adjacent to bust at left. Small grouping of paint losses at borrm, 4.5" from bottom right corner. Above ear is slightly curved line of raised paint damage. Small light spot of paint loss on chari back one inch away from frame. 3 vertical tray drips on canvas back. Also some moisture stains to left of stencil.
Frame: Poor to fair condition. Strong overall wear to gilding. Strong losses of gesso at protruding part of molding, esp. at right side. Patches of heavy wear: two areas on right side and one at left. Dark cracks across profile of molding. Back is uncovered.
