Clock wheel cutting machine used by Lancaster clockmaker Martin Shreiner, Sr. Made of steel and brass with turned wood handle knob on crank. Main frame of tool is steel resting on four rounded, downward-curving legs with coin-shaped feet. Many moving parts, arms and cranks/screws, including the swiveling cutting yoke/frame at top (cutter blade with arbor/spindle missing) and the shaped index arm that "reads" the holes on the 13"-diameter brass wheel furnished with concentric circles of surface holes.
The LaFonds call this a very sophisticated machine, incorporating Swiss, German and English ideas/influences. This indicates to them that the machine was made in America, very likely by Shreiner himself. It was imperative for clockmakers to own this tool to practice their trade. Few survive. This machine was first described in the early book or article (LCHS Bulletin) printed in 1917(or 1919) & 1939 by D. McGee who wrote about Lancaster clockmaking. Ed believes this machine to be "the finest American engine in existence" and that it very well may have been made by Shreiner, probably in the 1790s. The cutter blade was used to cut the teeth on the large brass wheels that turn the pinions. There would have been either a slitting cutter or a form cutter used. Carter Harris says form cutters were used by the 1790s.
Attributed to Martin Shreiner (1769-1866).
An 8x10 B&W photo is in picture file under "clocks." Also slide is in slide collection, #14-3-11.
Lancaster Borough, most likely
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 removed rust and kept it on a window sill. 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. Stacy Wood claims this machine was one of Martin Shreiner's tools (Vol. 96, LCHS Journal).
Pitting on steel surfaces, slight discoloration on brass parts, signs of wear overall.
Object ID
G.04.19.1
Notes
Information from: Clockmakers of Lanc. Co., Wood/Kramer, 1977, p. 142. 225 Years of Timepieces (Catalog of 1st Annual Exh. of NAWCCM, 1979), p. 63. Stacy Wood researched origins and provenance of these tools and wrote article in Vol. 96 #4 of LCHS Journal. Conversations with Virginia LaFond ( 5/19/04), Ed LaFond (7/6/04) and Carter Harris (7/7/04).
Place of Origin
Lancaster
Usage
Shreiner, Martin
Credit
Gift of the Richard C. von Hess Foundation, 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
Tall case clock, Chippendale case with eight-day movement. Dial is painted white with rose spandrels, moon wheel, and is signed very faintly, "Peter Spycker/ Williamsburg." John Peter Spyck(h)er's clocks are rare.
Walnut case with poplar backboards is highly carved. Three flame finials rest on reeded plinths atop scroll pediment with dentils and 12-point rosettes. Tympanum is relief-carved with a central flower flanked by vining. Waist and base have vine-carved quarter columns with smooth lamb's tongues. Arched waist door accented by a deeply incised shell carving near top. Base has raised base panel with corner volutes and central shell. Ogee replacement feet.
Made by Peter Spycker (1756?-1830). Case attributed to Peter or John Rank or Daniel Arndt.
Jonestown (formerly Williamsburg), PA (almost certainly)
See Notes
Provenance
1783-1883 White Horse Tavern near Jonestown; 1883-1914 Bross family of Brosstown (near Rt 72 & 22); 1914-1963 Harry Lesher of Jonestown; 1963-1979 Donald L. Mohn, Jonestown; 1979-1981 William DuPont, Wilmington, DE; 1981 to donor. (Info from Donald L. Mohn)
Jonestown's White Horse Tavern was kept by John Rank (Peter Rank's brother) in the early years of the 19th c. (Clock is based on design sketch from Peter Rank's account book.)
Reported by Carter Harris: a #1 is scratched on front plate of movement and front of seatboard.
Inscription Type
Inscription
Object Name
Clock, Tall Case
Material
Wood, Glass, Brass
Height (cm)
256.54
Height (ft)
8.4166666667
Height (in)
101
Width (cm)
61.595
Width (ft)
2.0208333333
Width (in)
24.25
Depth (cm)
29.5275
Depth (ft)
0.96875
Depth (in)
11.625
Condition Notes
Flame finials replaced recently (copied from similar Heinselman clock at York Bank in York); ogee feet replace bracket feet which replaced earlier feet; door escutcheon replaced; severe crack in base with loss of wood; dentil molding on front replaced. Movement overhauled by Carter Harris, 1982.
Object ID
G.81.20
Notes
JJ Snyder research (in file) identifies maker as Peter Spycker, Jr., the clockmaker recorded on Tax Lists for Tulpehocken Twp, Berks Co., in 1789 as "Peter Spycker Junr. - Clock Maker". In June 1803, Spycker purchased property in Jonestown(Williamsburg) & he may have rented before this date. An 1829 deed mentions "Peter Spyker of Swatara Twp. in the Co. of Lebanon...Clock Maker..." Williamsburg (Jonestown), when founded about 1761 by William Jones, was part of Lancaster Co., then Dauphin Co. in 1785 and part of Lebanon Co. in 1816.
Snyder states "all major elements of the design of this case are virtually identical to a design sketch for a clock case in the account book of a Jonestown joiner, Peter Rank (1770-1851). This account book is in the Joseph Downs Manuscript and Microfilm Collection of the Winterthur Museum." Snyder also notes that the handwriting of this sketch's label is not Rank's. It is possible that these sketches may have been done by joiner Daniel Arndt, whose name also appears in the manuscript."
See "Jonestown School" in Cooper & Minardi, Paint, Pattern & People, pp. 89-91.
Snyder notes it is likely that this clock case illustrates the closest relationship to a design sketch known for any American Chippendale furniture.
The white dial precludes a date earlier than the 1780s.
Place of Origin
Jonestown, Lebanon County, Pennsylvania
Related Item Notes
Very similar carving to a Heinselman tall case clock in York Bank & Trust Co., York, PA.
Usage
White Horse Tavern, Jonestown
Credit
Gift of Herbert B. Weaver in memory of father Isaac Hoover Weaver (1864-1920), Heritage Center Collection
Tall case clock has 30-hour brass movement, two-chain pull-up, painted metal dial signed "John Heinselman/Manheim" above center. Dial locally made. Calendar window above VI. Moon wheel
Case is primarily cherry, Chippendale style, by unknown Manheim cabinetmaker. Base has ogee feet, fluted quarter columns and a raised base panel with hollow upper corners. Waist has fluted quarter columns and a pendulum door with cyma curve at top. Bonnet has three heavy flame finials; and carved rosettes terminate the steeply rising scrolls of the pediment. Scroll pediment has Wall-of-Troy dentil-like detailing. Center of tympanum has an applied shell carving flanked by undulating vines that terminate with tulip-like flowers.Quarter-columns are fluted in front with brass plinths and capitals; back columns are plain.
Provenance
Provenance: Purchased from Maine dealers Kenneth and Paulette Tuttle. They had acquired clock from the family of Edward Hergelroth of Manheim, PA who had moved to Maine about 1900.
Works overhauled by Carter Harris in Feb. 1982. Case has minor wear; front edge of left side of bonnet is splintering 4" above base. Dial has brownish stains. Moon wheel has only vestiges of painted image remaining. Vertical split at center of base panel.
Object ID
P.81.15
Place of Origin
Manheim
Credit
Gift of James Hale Steinman Foundation, 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
Framed fraktur birth & baptismal certificate (taufschein/B&BC) for Elisabetha Elser, drawn, lettered and colored by hand on laid paper. Symmetrical, horizontal design is attributed to the "Ehre Vater" artist. Fraktur is mounted on thick paperboard with beveled edges, and is float-mounted on a buff-colored matboard within a modern black frame.
At center is a large circle painted red and green. Inside the circle, set onto yellow ground, is a heart with blue border and pinkish interior. Interior text states Elisabetha Elser was born in Warwick Twp, Lancaster Co. on 19th Nov 1803. Her parents were Peter Elser and wife Elisabetha, born a Wachter. Baptism was held by Pastor Schulz and the sponsors were Georg Wachter and his wife Margaretha (believed to be a sister of Peter Elser). Below circle are two lines of religious verse, translated by Weiser as "A heart that loves Jesus knows no worries -- much cross, need and pain are his days of joy."
At lower right and lower left are two large compass-drawn spheres colored with green, yellow, red, blue and pink. Out of each sphere is a flowering plant on which large parrot-like birds perch, similarly colored.
Attributed to the "Ehre Vater Artist" (active c. 1782-1828).
Some surface soil. Good color retention. Needs to be removed from backing board and conserved.
Object ID
2017.999.1
Notes
Appraised by Rev. Fred Weiser, 2 Sept 1988. He attributes fraktur to the Ehre Vater artist, a prolific artist who travelled far and wide producing fraktur for many years. This fraktur likely related to Johannes Schnierer B&BC, 2004.718, due to Johannes Schnierer (b. 1786) later marrying an Elser (Catharine).
Papers for Birth Dayes notes on page 227 that this fraktur was exhibited as #38 in the , Allentown Art Museum show in Allentown, PA, "Pennsylvania Folk Art," October 20-Dec. 1, 1974.
The Elser, Weidman/Weydmann, and Wachter families were intermarried.
Birth and baptismal certificate imprinted 1788 at Ephrata Cloister printshop; infill and fanciful hand-decorated borders by Arnold Hoevelmann. Watercolor decoration includes various fantastical flowers on arching vines emanating from huge pumpkin-like flower at the top, with vines arching down to each side ending in large tulips. Additional flowers below. Hunter is in colonial dress with large black hat, firing his rifle at a stag on the far left side. Strongly colored with mostly red, blue, purple, and yellow. Hoevelmann consistently used a flower motif decorated with what some believe to be a capital letter "H" (his monogram). This fraktur is a rare example of human figures being depicted.
Ephrata Cloister 1788 imprint; artwork by Arnold Hoevelmann (1749-1804)
Certificate done for Jacob Stuart, born December 29, 1784. son of Jacob Stuart and wife Maria Catharina (no maiden name). It appears he was born in "Mauntschey" (Mt. Joy) Twp. Pastor Wilhelm Hendel baptized the child but no date is included. Hoevelmann wrote "Witnesses" at the end, but no names. Later ink inscription added at lower right appears to be subject's age (69) at time of death, 2nd Jan. 1854." Pencil calculation of age at top, to left of large orange flower.
Provenance
Ex-Unger collection, Pottsville.
In 1974, Richard F. and Joane Smith entrusted this BBC to the Lancaster County Historical Society with the understanding that it would become part of the Heritage Center collection when established.
Fragile, with overall buckling and pronounced wringling across surface. Areas of foxing.
Conserved by the Conservation Center for Art and Historic Artifacts 1988-89: cleaned, removed paper backing, mended and matted for original frame (report in file). Remounted and framed by Carlisle conservator Brian Howard in 1996.
Object ID
G.77.50.9
Notes
Family tradition says Hoevelmann was born in Prussia in 1749, came to America along with LaFayette and served as a surgeon during the American Revolution. It is likely he and his wife Eva Susanna lived in Lancaster Co. since two sons were baptized at Holy Trinity Lutheran Church (1780 and 1793). He worked in many PA counties, including Washington Co. in MD, and is believed to be buried at Frieden's Church near Shiremanstown, Cumberland Co. Based on the many known B&BC's by Hoevelmann, it appears he used printed forms early in his career and completely hand-done certificates later in life.
Allthough born in Lancaster Co., Jacob Stuart appears to have lived in Lebanon County during much of his adult life. He and his family attended Trinity Tulpehocken Reformed Church, Jackson Twp., Lebanon Co. was where he was married, 31 Dec 1805 and appears to have had at least 7 children according to church records of 1800-1856. Jacob "Stewart", his wife Elizabeth and two daughters (Henrietta & Clementine) are buried in Mt. Hope Cemetery, Myerstown, Lebanon Co. The 1850 Census shows Jacob "Stewert", Elizabeth and Clementine living in Marion Twp, Berks Co. (Marion Twp. borders Jackson Twp., Lebanon Co.)
See:
1. Shelley, Donald A., The Fraktur-Writings or Illuminated Manuscripts of the Pa Germans, Pa. German Folklore Society, 1961, plate #84.
2. Earnest Associates, Papers for Birth Dayes, pp. 399-401.
3. Kline and Weiser, "A Fraktur Fest" in Der Regebogge, Sept-Dec., 1970, Vol. 4, pp. 3-5.
4. Stopp, Klaus, The Printed Birth & Baptismal Certificates of the German Americans, Vol. II, pp. 150-151. (This example is numbered 246.3 by Stopp)
5. Photo on p. 120 of Corinne & Russell Earnests' Fraktur: Folk Art & Family, 1999.
Heritage Center slide collection #27-2-5 (now in Photo Collection)
Place of Origin
Ephrata
Role
Artist
Credit
Gift of Mr. & Mrs. Richard Flanders Smith, Heritage Center Collection
Fraktur is a birth & baptismal certificate (taufschein) for Johann Kupper, drawn, lettered and colored by hand on laid paper. Text block written with iron gall ink is centered in bottom half of the horizontal sheet of paper. Border on top and sides composed of fantastical flowers in yellow, red, black and green. Identical flowering plants fill each side of text, rising from a basket-like containers. Top has tulips and other flowers rising from wide and shallow baskets(?).
Text begins with "Johannes Kupper" in large fraktur-type letters followed by nine lines of German script regarding his birth in ?? Township, Dauphin County, 30 June 1797. Father was Johann Adam(?) Kupper and mother was Christina ?? Baptised 1 October 1797. The baptismal witnesses were Johannes Matter and his wife Elisabetha.
Mounted in a modern brown natural wood frame with white window mat. Kraft paper dust paper on back. Several puncture tears at left. In pencil at bottom right corner is "#9".
Size of certificate is approximate according to what is visible through the window mat. Size of frame is H: 11.25" W: 16.75"
Condition
Fair
Condition Date
2017-06-12
Condition Notes
Colors are still vibrant. Foxing and other brown stains, especially along center vertical fold line (tape residue?). This fold line is almost entirely broken. Approximately 16 large holes are found on flowers where iron gall ink was concentrated. Some edges of holes are folded over. Additional breaks along some fold lines and elsewhere. A long tear extends downward about 1.25" from top edge near right corner.
In need of conservation.
Object ID
2003.076
Notes
Appraisal conducted by Pastor Fred. Weiser, 2 Sept 1988.
Johann Kupper (John Cooper) was born 1797 and died November 1883. He married Mary Miller (1798-1882) and both are buried in Zion Lutheran Church Cemetery in Rife, Dauphin County.
Johann was the son of John Adam Kupper (Cooper) and Christina Margaretta Schott Kupper. He was a farmer, living in Washington Twp. in northern Dauphin County, vicinity of Lykens and Elizabethville.
Confirmation of John Cooper is found in the Price Rominger Family Tree, Ancestry.com.
This is related to other Kupper family fraktur in this collection:
Nearly square printed fraktur mounted in a window mat and a modern flat black frame. This three-heart design made by Friedrich Krebs has his name "F. Krebs" printed at the bottom of the large central heart. Likely custom-printed in Reading at Adler's. Text within large heart is "Geburts- und TaufSchein." Standard main text has blanks infilled by Krebs. A daughter Elisabetha Miller was born 21 Feb 1809 in Cocalico Twp. to parents Peter Miller and wife Anna, born a M-caale(?). Daughter Elisabetha was baptised 14 May 1809 by Rev. Nuszky(?) and the sponsors were Peter Ellser and his wife Elisabetha. Smaller hearts below have religious verse.
Folksy decorations include coloring the heart border lines and adding many pasted-on cutouts, six of which are imprints of well dressed medieval people, two are pattern embossed paper urns/vases at bottom and two are small birds at top (right one missing). Extensive use of ink and watercolor to portray flowers, 4 suns/moons with faces and an unusual butterfly/moth drawing at top center. Borders of hearts are embellished with watercolors.
Printed in Reading, likely by Adler's Print Shop. Infilled and decorated in Cocalico Twp by Friederick Krebs (c. 1749 - c. 1815).
Fred Weiser, "The Mad, Lovable World of Friedrich Krebs," Der Reggeboge, 1988.Vol. 22, No. 2, pp. 49-88.
Alfred Shoemaker, "Notes on Frederich Krebs, The Noted Fractur Artist," The Pennsylvania Dutchman, Nov. 1, 1951, Vol. 3, No. 11.
Klaus Stopp, The Printed B&BC of the German Americans, Vol. 1, 1997, pp. 77-78 and pp. 140-144.
Height (cm)
31.75
Height (ft)
1.0416666667
Height (in)
12.5
Width (cm)
39.37
Width (ft)
1.2916666667
Width (in)
15.5
Dimension Details
Measurements are estimated based on what is visible in window mat.
Dimensions of frame are H: 15.375" W: 20.25"
Condition
Fair to Poor
Condition Date
2017-06-20
Condition Notes
Overall age yellowing with slight foxing. Multiple fold lines and other wrinkles. Large areas in right and left corners have heavy losses (holes), folded over edges and mending with cellophane tape adhered to back and staining the paper. Many pasted-on paper cutouts are detaching with folded-over edges. At least one cutout of bird is missing at top and perhaps additional missing cutouts where holes exist at upper corners. Abrasions on lower left cutout as well as some painted motifs.
Object ID
2017.999.8
Notes
Appraised by Rev. Fred Weiser in Sept. 1888. It was numbered # . See another B&BC by Krebs, 2017.999.28.
Johann Jacob Friederich Krebs was probably born April 3, 1749 and probably died in July 1815, according to Russ & Corinne Earnest's Papers for Birthdayes, pp. 460-467, He was active circa 1784-1812 in most counties of southeast PA and even New Jersey. He is considered the most prolific of all fraktur artists. He lived between Hummelstown and Harrisburg, Dauphin Co. and was a Schoolmaster in Swatara Twp.
He went through phases of decoration such as pasted-on cutout paper, stamped-on birds, his own freehand sketches, etc. He purchased large sheets of colored Augsburg brocade paper having Baroque decoration with pictures of Saints, animals and flowers. He cut out these figures to paste on fraktur as well as cut out his own shapes.
He used Adler's printshop in Reading for most of his printed B&BCs, often supplying the paper himself. He preferred 3-heart prints having no decoration, since he provided his own decoration.
A Peter Miller was a West Cocalico Twp. Supervisor in 1850 (Ellis & Evans, p. 722). The 1860 Atlas shows two "Pr. Miller" properties in East Cocalico Twp. just south of Knops Ridge. The 1869 Co. Directory lists 14 Millers in E. Cocalico, including a Peter Sr., a Peter Jr. and a Peter K. Miller, all in Reamstown or Swartzville.
Liebesbriefe (love letter) papercut or scherenschnitte on laid paper, mounted on green paperboard within a black wooden frame. Intricately cut circular design has narrow sawtooth border and cutout hearts, urns and flowers (tulips and carnations) in a repeated design. Center has a large flower-like, scalloped edged shape outlined in blue and lines of text written in red ink around periphery. It reads: "Lieben und nicht haben ist harter dann stein graben, und nicht bey sammen seyn(?) / ist fur wahr die groste pein." Appears to read: To love and not have (have love requited) is harder than stone (graben?) and not by ? ? ? is in truth the greatest pain.
16 inverted hearts dominate outer area, arranged in a staggered fashion around periphery. Each heart is alternately edged in blue or red and each is numbered and infilled with an expression of love written in red ink. Eight 2-handled urns radiate outward from center filled with tulip plants that connect with the hearts. Vasiform paper shapes alternate with urns and are decorated with drawings of tulips and blue flowers. Watercolor decoration is typical color palette of red, yellow, blue and what originally was green foliage. On back of acidic paperboard is written "This is probably Christian Strange (sic) Cut-Out." Old paper label taped to back is printed "An Old Pennsylvania / German Valentine."
See David R. Johnson, Christian Strenge's Fraktur, East Petersburg Historical Society, 1995, for two other examples.
Diameter (cm)
33.3375
Diameter (ft)
1.09375
Diameter (in)
13.125
Dimension Details
Diameter of frame is 19.5"
Condition
Fair
Condition Date
2017-06-26
Condition Notes
Delicate cutout has heavy losses, especially sawtooth border, parts of flowers & leaves as well as 3 missing vasiform (resembling a tube/duct) shapes with the floral drawings. Fold lines are broken and breaking. Paper generally age-darkened with some scattered light brown stains. Multiple repairs detached elements and pieces of paper pasted onto back for support. Black painted frame has abrasions. Glass has some light molding on inside surface.
Object ID
2017.999.9
Notes
Appraisal conducted by Pastor Fred Weiser, Sept. 2, 1988. He notes that the condition restrains the value. There is a large B & W transparency in the file.
See other examples in David R. Johnson's "Christian Strenge's Fraktur", 1995. (Copies in file, including translation of German).
Haus segen (House Blessing) printed by John Bauman and mounted in an old walnut veneered frame with flat face and projecting edge. Three heart design has very large heart dominating design, its outline printed with a "snowflake" type motif. Within, at top, in large letters is the title "Haus-Segen." followed by a short line break composed of "S * T"s in alternating pattern. Then 7 lines of text begin "IR GOTTES Namen geh ich aus, Ach HERR! regier du heut das haus: / Die Hausfrau und die kinder mein, Lasz dir, O GOTT! besohlen seyn." Text block followed by a short row of circular motifs. At very bottom of heart is "EPHRATA: / gedruckt, und zu ha- / ben bey JOHN BAUMAN. / 1801" Woodcut designs printed in red ink fill space outside of heart. At top is a tulip & carnation plant, parrots at both upper corners perched on flowering branches, and along very bottom are two hearts flanked with birds; flowering plant rising from top of hearts. Inside hearts is religious text printed in black. Tiny donor inscription in blue ink at edge of bottom center is "Presented to the Lancaster County Historical Society / by Albert K. Hostetter, -- February 2 - 1906." This info repeated at top of frame back in inked hand.
Pasted onto very acidic paperboard. (Fred Weiser notes "Should be removed from board even if it costs what the piece is worth as it will only fox and deteriorate more). Darkened from acid burn and small scattered brown stains & foxing. Ink has faded. Liquid stains along right side as well as paper losses due to insect damage. Tape apparently used along edge of right side. Significant tears especially along top and left edge. Finish on frame is good but dark, with some cracking of veneer at bottom left. Abrasions.
Object ID
1906.01.1
Notes
Klaus Stopp, The Printed B & BCs of the German Americans, Vol. II, p. 98 ff. Pages 194 and 197 depict two imprints of B&BCs similar to this Haus Segen, except of course for the text. This 1801 imprint of a Haus Segen is one of Bauman's earliest products. Stopp states He started printing "relatively late, at the age of 35 years, in his business as a printer, after he worked with his father as a papermaker in the Ephrata paper mill. He printed from 1800 to 1809, the year of his death."
Lee Stoltzfus of "Black Arts" website states: "John and his wife were married Cloister members. John purchased the Ephrata Cloister printing press in 1800, and moved it to his nearby Ephrata home. He previously had worked as a papermaker with his father Benjamin."
On accession record in file, curator Randall Snyder noted in May 1989: "Recorded in the minutes of the Lancaster County Historical Society, February 2nd, 1906, Vol. 10 No. 2, page 56. Also recorded in the "Catalog" kept by Librarian, S.M. Sener from 1896-1908, #1863.
See Fraktur Worksheet #31" for 1988 appraisal by Pastor Fred Weiser.
Upholstered wingback commode chair has four turned Sheraton legs. Has replacement of original soiled handsewn homespun linen (remnants in this file), now an orange fabric with potted and vining flower design. Solid pinewood seat under cushion has center hole with fitted removable wooden disc.
This chair was from the Pownall home at Gap, where it was used by Dickinson Gorsuch, Maryland slaveholder, during his recovery from wounds sustained during the Christiana Riot of Sept. 11, 1851. His father and two others were killed during the skirmish at the home of freedman William Parker, and Dickinson was transported to the Pownall home for recovery. William Parker later published his story in the "Atlantic Monthly" in 1866, making it highly publicized.
This incident "is an important example of the struggle over the 1850 Fugitive Slave Act and the escalating tension between the North and the South. This act gave slave owners broad powers to recapture runaway slaves". (ExplorePAhistory.com)
Polaroid photos of chair before re-upholstery, in file.
Likely Lancaster or Chester Co.
Provenance
Provenance: Chair owned by the Pownall family & given in 1973 to the Lancaster County Historical Society by Mrs. Levi Pownall of Lancashire Hall (569-7279).
It was initially loaned to the Heritage Center (# L.77.9 and # 161.64.80) but soon donated to HCLC. Board minutes of Dec. 8, 1975 include Richard F. Smith's Museum Committee report noting a donation of a "Sheraton armed wing chair commode, used by the Pownall home in nursing Dickinson Gorsuch following Christiana Riot in 1851." Later unsigned note (Bruce Shoemaker?) states John Aungst of LCHS was consulted & chair was removed 11/9/84 from list on LCHS loan form, settling an apparent question of ownership.
Copper measure of sheet copper with conical body. Beneath applied handle is a keyed seam. Rolled copper base and lip. Applied strap handle, attached with 2 rivets at top, 1 rivet at bottom. Handle terminates with heart form at bottom and two lobes at top. Interior is tinned.
The name "(E)ICHHOLTZ" is stamped onto top of strap handle. "E" of Eichholtz is hidden where handle is attached at top. Interior is coated with tin.
Jacob Eichholtz worked as a coppersmith/tinsmith with his brother George on East King St. until c. 1815, when he began focusing on portrait painting. 1830 Tax Assessment lists him as a portrait painter.
Research by Pat C. Keller at Historical Society of PA in Jacob Eichholtz's daybook, indicates he made measures, not mugs. Notes in file indicate purchase was contingent on results of an effort to x-ray upper handle for evidence of initial unseen letters of stamped name. No indication this was ever done.
Provenance: Sellers Jackie & Vernon Gunnion purchased measure at Conestoga Auction circa March 1986. Jackie reports Don Fennimore of Winterthur knows only two other signed copper pieces -- by Apple and by Schlosser.
Photos: slides #23-5-1 to 9 and multiple B&W 8x10s
Small to significantly larger dents on sides and bottom Some scratches from general wear. Surface has been polished and lacquered. Some polish residue visible at both the rolled lip and rolled base.
First "H" and "T" of "ichholtz" are very worn. Corrosion and wear to interior tin surface.
Upper terminal of handle has split at left rivet (stable).
Object ID
G.86.03
Notes
See accompanying P86.3 file for research done by Heritage Center Director Pat Keller-Connor to determine authenticity of the touchmark. There was a possibility of the first initial being "J" for Jacob or "G" for George, a brother. On Feb. 17, 1802 Jacob advertised with his brother George as "tin-plate workers". Pat K-C intensively did research to settle the matter before finalizing the purchase of the measure
studied Vol. 1 & 2
See Henry Kauffman, American Copper and Brass, p. 119.
Place of Origin
Lancaster
Credit
Courtesy of LancasterHistory, Lancaster, Pennsylvania.
Chamber Organ in Hepplewhite kidney-shaped case, flat top, with French feet. Cabinet made of mahogany veneers; secondary woods are curly maple, walnut, and pine. Figured mahogany veneers on case contrast with lighter colored wood inlay on top, sides, and front. Three wide strips of banding encircle case at lid, above doors, and at bottom above feet and apron.
Front section of lid is hinged, revealing keyboard of 32 ivory-plated keys and 22 sharp keys of ebonized poplar and fruitwood nosings At each end of keyboard are pierced wood grilles (for sound emission) with badly deteriorated fabric backing. Below keyboard lid is an inlaid lock escutcheon. Two front doors curve inward, recessing below keyboard section and creating a concavity for knee space. Inlaid lock escutcheon on right door.
Pine and leather bellows in good shape, some repair at hinged end. There are 17 loose pipes, apparently fallen out but intact. Fabric covering missing on back.
Conrad Doll was a cabinetmaker, organ builder and tunebook publisher as well as organist & schoolmaster for the First Reformed Church. Three extant organs by Doll are the 1807 organ in Chippendale case made for Peace Church near Camp Hill, Pa., and two chamber organs which are visually identical (One owned by Ray Brunner and the other by HCLC). Ours was deemed to have been built circa 1806 due to the Oct-Dec.1805 date of the newspaper lining of the bellows. See Notes!
Provenance
Likely built by Doll for his brother Joseph, a tunebook publisher in Harrisburg. The organ passed to Joseph's daughter Catherine Elizabeth Doll who married George Mish (1783-1851). Their son Dr. George F. Mish (1824-c.1919) married Ms. Smuller and they lived at 460 Union St., Middletown. The organ remained at the house, passing to son George Smuller Mish (1862-1939) & successive descendants until the house was sold in 1983. The furnishings went to auction, but the organ did not sell for lack of interest and was shoved under staircase. The Vreelands who purchased the house agreed to keep the organ, allowing it to be rescued and eventually sold to HCLC. It was restored to playing condition by R.J. Brunner and Co. (Ray & Ruth) of Silver Spring, Pa. in 1995-1996.
Originally in need of many repairs to case and interior musical works (see file for description). Restored to playing condition in 1995-1996 by Raymond & Ruth Brunner.
Foot piece later came unglued and is detached.
Object ID
P.85.09
Notes
In Historical Soc. of Pennsylvania's Daybook of J. Eichholtz on page 30 is an entry dated March 1, 1810 for John Wind: "To painting frontispiece" with a charge of 15. This is presumably for the one in LHO collection, or perhaps another.
An identical entry on page 20 for organmaker Conrad Doll dated May 19, 1809 lists "To painting a frontispiece" for the same charge of 15. (Copies of these pages in file P.86.3 for Eichholtz copper measure).
See: That Ingenious Business, Pa. German Organ Builders, Raymond J. Brunner, The Pa. German Society, 1990, pp. 158-161.
"A Conrad Doll Chamber Organ," The Tracker, Raymond J. Brunner, Vol. 25, No. 2, Winter 1981, pp. 16-19.
Research notes on Doll family genealogy. Also one-page article written for 1997 Exhibit label by Ruth Brunner.
Place of Origin
Lancaster
Credit
Heritage Center Collection through the generosity of the James Hale Steinman Foundation
Fraktur is a heart form B&BC on horizontal wove paper recording birth of Johann Adam Kupper in German script. Large central heart has a scallop and sawtooth outer edge and text within. At top is "Johann Adam Kupper" followed by his birth 1 July 1759 and baptism by Pastor Lothar Stoewer, 5 Aug 1759. Godparents were Georg Ulrich and his sister. Parents were Georg Kupper and his wife Elisabeth, daughter of Michael Zimmerman.with later dates of 1777 and 1783. Johann was confirmed by Pastor Koebrecht 29 July 1783. A very unusual addition is the final sentence that records his marriage to Christina Margareta Schotten by Pastor Samuel Dubbener. Thus, this B&BC was done after the marriage.
Mounted in a white hinged window mat, secured at corners. Foamboard backing.
Outside of heart is a profusion of multicolored stylized flowers; flowers at sides grow out of a basket.
Good due to great color, but structurally the paper is fragile. There are 5 vertical breaks that appear to be mended w/ cellophane tape. Some tape stains visible. Various size holes in center of 5 flowers. All edges tattered, but especially bottom edge that has losses and folded edges. Surface appears to be soiled with light scattered stains.
Object ID
2017.999.11
Notes
Appraised 2 Oct 1988 by Rev. Fred Weiser and designated #7. It is related to the following Kupper family fraktur in this collection:
2003.076 Johannes
2004.749 Sara
2004.752 Allen
2017.999.11 Johann Adam Kupper 1788
This fraktur translated Oct. 2017 by Elsbeth Steffensen (friend of Mary Alice Wheeler & Andre Dominguez). See object file.
Fraktur is apparently a religious text with multiple flourishes along top and a wide margin at left filled with a large stylized tulip on a thin stem with other flowers and leaves densely filling space. Penwork is black iron gall ink on laid paper. The paper seems to be small pages from a book, pasted together to created a larger sheet. Reverse has strips of paper pasted onto seams (some replaced with later cellophane tape) from a book.
Top line of text is large fraktur lettering "Mein Gott ich Klopff(?) an(?)", with initial "M" enlarged and decorated. Seven lines of script follow, with a line of upper and lower case letters below. Across bottom is "My Child y wil you learned a Was of the bast you must butt (put) your trust of God at last" Final line is tiny script and in the center of this line is written in red ink "Hinerich Sleo(?)". With the alphabet, this piece is like a Vorschrift.
Appears to be 4 small pages pieced together to create a large one. Paper strips pasted on back at seams and some cellophane tape. Multiple problems. Paper overall is age darkened with multiple small brown stains, some large blotches. Holes in iron gall ink, esp. the large tulip. Some paper seams are breaking with with one hole just above center. Edges ragged, torn and folded back. 1' x 2" loss of top left corner; 1" x 3/4" loss of top right corner, and similar loss at bottom left corner. Paper hinged onto matboard with ivory window mat.
Watercolored drawing on wove paper. Symmetrical design has a heart at bottom center with religious text. It reads: "Gottes brune/lein hat wasser / die Fulle Amen." (God's little well has an abundance of water). Growing out of the heart is a tall flowered stem extending to top of page. Top flower is a large tulip of yellow, red and blue. Large, confronting birds perch on small side branches terminating with small tulips. Birds have yellow bodies, blue wings and head, with red beaks and neck ring. Red and yellow carnations on side branching stems below. Heart is flanked at bottom by two birds with blue bodies, yellow wings and red heads. Mounted in an off-white window mat with two paper hinges at top. This is drawn by the same artist as 2017.999.18 and executed at the same time. Colors are the same.
Overall light brown age darkening. Several small brown stains; worst one is under top left bird. Very light creases/buckling across surface. Right edge is wavy. Upper left corner has crease where folded back.
Object ID
2017.999.17
Notes
Appraisal done by Pastor Fred Weiser on 2 Sept 1988. Marked fraktur #28 during this event.
Watercolored drawing on wove paper. Symmetrical design has a heart just below center with religious text written in red. It reads: "Das blut Jesu Christ des sohnes Gottes macht und rein von allen sunden Amen." (The blood of Jesus Christ, the Son of God, purifies us from all sins. Amen). Growing out of the heart are three stems: the center one has a small flower but the side ones terminate with tulips and have birds perching just below. Tulips are red and blue; birds have red bodies, blue wings and yellow heads. In each bottom corner is a prancing blue horse.
Mounted in an off-white window mat with two paper hinges at top. This is drawn by the same artist and at the same time as 2017.999.17. Identical colors used.
Overall light brown age darkening. Several small brown stains appear similar to foxing. Wavy horizontal wrinkle across page near top. Three light creases in bottom half. Bottom left corner has crease where folded. A 1/2" tear at bottom, one inch from right corner.
Object ID
2017.999.18
Notes
Appraisal done by Pastor Fred Weiser on 2 Sept 1988. Marked fraktur #16 during this event.
