Portrait of George Graeff, oil on wood panel. Portly, middle-aged man in profile, facing right. Has long dark hair tied with a ribbon and is wearing a black coat with white shirt and lace jabot. Dark background. Frame is wood veneered with single metal hanging ring at top.
Label on frame back states "Col. Geo. Graeff." A hatter, Graeff (1756-1823) is credited with building Graeff's Tavern on S. Queen St. He was captain of a volunteer company of Lancastrians at the Battle of Long Island during the Revolution. Was County Treasurer from 1787-1802 and the second president of Farmers Bank, after 1814. More info in file; see NOTES.
See NOTES
Provenance
Descent within the family, on the Hager side. Donor is gr. gr. gr. grandson of Geo. Graeff.
Colonel Geo. Graeff to son Graeff to daughter Annie M. (m. Charles F. Hager to son Walter C. Hager (single) to brother Charles F. Hager to daughter Susan (m. Richard P. Rohrer) to son Charges Hager Rohrer (donor).
Multiple small areas of paint loss. Small pieces of veneer missing from corners of frame; larger piece missing at lower left, abut 2" from corner. Painting and frame conserved by James Vallano, Ja. 2003, for 2003 exhibit "Worlds of Eichholtz".
Object ID
G.86.13.1
Notes
John J. Snyder, Jr. reports that on Oct 1, 1818, Eichholtz recorded a portrait of Graeff costing $20. He notes that this may be one of the latest profile portraits on panel done by Eichholtz.
Included in the 1912 Portraiture exhibition held in the Woolworth bldg., listed as #99 on page 25. See copy in file. The painting was owned and loaned to the exhibition by Graeff's great-grandson, Walter C. Hager (1859-1930).
Rebecca Beale includes this painting on page 96, but notes it is unlocated.
Place of Origin
Lancaster
Credit
Courtesy of LancasterHistory, Lancaster, Pennsylvania.
Residence of the Late Patrick McEvoy of Manheim Township
Description
Black and white drawing, pen, ink,pencil and watercolor on cream-colored paper. Drawing show the Harrisburg Pike residence of Patrick McEvoy (1805-1870) who was a railroad contractor and later a partner in a banking house on E. King St. in Lancaster. The drawing consists of a barn and a yard in front with animals and a large house to the right surrounded by large trees. A road in foreground has a carriage, two horses and a driver in motion. A watercolor wash is used to shade and fill in and add texture to grass, trees, roofs, animals, clouds, etc.
Caption at bottom reads: "RES OF LATE PATRICK McEVOY./ MANHEIM, TP LANCASTER, COUNTY, PA." In the second line, "MANHEM, Tp" is crossed out and "Manheim Tp" is handwritten underneath in black ink.
Mounted in a wood frame that is painted black with a veneered face. Step-matted in black and cream.
Seller's label on back reads: "CA. 1875 ORIGINAL B & W WASH OF/ THE RESIDENCE OF THE LATE PATRICK/ McEVOY OF MANHEIM TOWNSHIP/ LANCASTER COUNTY, PA./LOCATED ALONG HARRISBURG PIKE, IT WAS TORN DOWN IN 1967.
Lines of brown soiling around edges. Four small brown moisture stains to left. Minimal brown stains overall. Black line under caption. Two white spots in lower right corner.
Object ID
P.99.01.01
Notes
See paper object file for references to McEvoy in:
- Biographical Annals of Lancaster County, p.99
-1869 Directory of Lancaster County, pp. 305, 395 & 409.
-slide & 2 photos
Patrick McEvoy was born in Ireland in 1805, came to America in 1823 and quickly became a prominent railroad contractor. In 1867 he became a member of the banking house of Evans, McEvoy & Co. in Lancaster. See copy of Bio Annals entry for other notable business and political activities. He died in 1870 and is buried in St. Mary's Catholic Cemetery, Lancaster.
Also, invoice of purchase from The Book Haven, Lancaster, PA
Engraved print entitled "Wright's Ferry, on the Susquehanna,/Pennsylvania." Above the title and under the scene is printed: "Engraved by G. Cooke, from a Large Print, by permission of Mr. Nightingale."
The scene depicts the Susquehanna River as it flows between Wrightsville and Columbia. Two behatted men on the river bank in the foreground, one seated and one standing with a walking stick. The scene looks north to the town of Columbia on the right (east) bank with building nestled close to a large cliff which represents Chickies Rock. Several sailboats are docked at Columbia and another is moored at the west bank of the river with several men standing nearby. No signs of settlement apparent on the York County side of the river.
As noted, this print is copied from another 'large print,' which in turn was published by George Nightingale in London in 1809, drawn by George Beck and engraved by Thomas Cartwright.
Woodcut print on tan, wove paper, done in black ink and hand colored, rectangular shape with vertical orientation. Paper print is mounted with three hinges on cream-colored matboard. Frame is a simple 19th century square profile, brown frame (not original to artwork) with hanging ring at top edge.
Within a single-line border is an image of a female scrivener, in profile, facing viewers left. She is dressed in a blue Empire gown and seated on a tan klismos chair with a strange device underneath (a green pyramid supporting a ball which in turn is surrounded with red balls). Woman has red dot on cheek as well as in a void in her hair. She holds a feather quill in her left hand and a book held up in right hand. Upper left corner of print has a red line painted to delineate a triangle which is painted blue.
Heavily inked lines and large expanses such as hair, book and shoes. All paint is semi-transparent watercolor except for the red which is very thick, opaque and now cracking.
Image is attributed to David Bixler (farmer and folk artist) who produced hand-colored prints such as this as well as portraits, maps, decorated auction bills, taufscheins, religious texts, flowers, etc. He also cut tombstones. See article written by Miriam E. Bixler as well as Papers for Birth Dayes, both in the paper file.
Provenance
This Bixler print is from the Paul Flack collection and is only being brokered through Ron Trauger.
See also: P02.17.1 a Bixler print of stag, P02.27.1-2 prints by Clement Bixler.
Generally very good except for two significant U-shaped tears near top where someone tried to pull piece away from the hinges. (A third hinge holds piece 1/3 from bottom.) Small dog-eared corner at top right. Darkened paper overall. A test of the pH pen indicates all mounting board is neutral or acid-free.
Object ID
P.01.59.1
Notes
David Bixler and his brother Absolam (d. 1884, a potter, woodcarver and farmer) were sons of Abraham Bixler (d. 1847) who owned a sawmill on Muddy Creek in Brecknock Twp. David Bixler lived on the road from Dry Tavern to Reamstown in Brecknock Twp.
Consult paper file for references, prices and copy of "David Bixler, Folk Artist" by Miriam E. Bixler, published in the Journal of the Lancaster County Historical Society, vol. 81, No. 1, 1977.
Watercolor painting of Susquehanna River near canal at Columbia.
Tiny watercolor done in shades of white, gray and black on rectangular, light brown paper. Scene depicts the town of Columbia as seen from the north side, with the canal leading up to the town, large chimneys belching smoke at center and the bridge crossing the Susquehanna River at right.
Newly framed by donor in gold frame. Mounted on heavy pink paper with 1/4" border extending beyond all four sides. This paper is then mounted on a background paper of dark green.
Inscribed on reverse: "Susquehanna at Columbia/ Lloyd Mifflin/ 1846-1921/ c. 1870." (Written by Wendell Zercher)
Miniature watercolor portrait of young girl (perhaps age 5-10?), one-quarter length, subject is slightly turned to her left side.
Painted on laid paper, what is now an imperfectly cut oval, the subject is well-dressed in 18th century clothing. Against a brown and green background, the girl is painted in a blue dress with large white collar and an elaborate straw bonnet surmount with folds of white. fabric. A white lacey cap appears underneath the bonnet. The girl has dark brown eyes and dark brown hair worn in bangs and long side curls. (by Wendell Zercher)
Inscription on reverse in ink: "G.S./1741/Mary Hamilton". Artist is unknown, although name of Gilbert Stuart is the most obvious one. However, the portrait may be a later copy as the lavish style and strong color of the painting do not appear to be 18th century.
Some soiling and darkening of paper, mounted on a paper backing which appears to be acidic and yellowing. Mounted with a small oval paper (hinge?) at bottom of oval. Some creasing at left side.
Pencil sketch of man with pole by Lloyd Mifflin. Simple pencil study done on nearly square, buff piece of paper. Subject is a man (hobo?) wearing a coat and hat, walking with a pole over his shoulder with a bag(?) attached. Framed in new oak frame, mounted on dark red paper with no visible hinges or corners. Foam-core backer board states, in pencil, "LLOYD MIFFLIN/ 1842-1921." Ink figures on reverse of frame ($3.25, 4 x 4, P 02). Photo in file.
Miniature watercolor portrait of Simon Cameron, turned in profile to his right, withing a painted oval, all on rectangular buff-colored paper. Cameron is painted at about age 60, in profile with a resolute expression on his face. He is wearing formal attire: a dark black-collared coat with a white, high collar protruding at his neck and a suggestion of a cravat of jabot at his neck. The background is shaded in tones of brown and the artist's signature in printed in black at the bottom of Cameron's coat, "E. Hergesheimer." Portrait must certainly have been done posthumously as Hergesheimer would have been only 16 years of age when Cameron died. (Photos and more information in file.) Written by Wendell Zercher.
Provenance
Possession of the portrait by the Slaymaker family is probably due to the intermarriage of the Slaymaker and Cameron families. Cameron's niece (Jane Elizabeth Cameron Redsecker) married Colonel S.C. Slaymaker (1828-1894) on May 28, 1862. Then descent to widow of S.R. Slaymaker II.
Generally in good condition and stable. Acid burned around perimeter where in contact with frame and window mat; heavily soiled front and back; dark stains at upper corners where previously hinged; 3 or 4 areas around perimeter where paper has been scraped, abraded, dented and even punctured. Edges of paper have been unevenly cut. Treated at Lancaster Galleries with de-acidifying spray and reframed.
Two small scenes drawn/painted by Lancaster County artist, Lloyd Mifflin, mounted together in a modern frame. 2 parts: Paris scene in pencil at top (A) and grey-to-black watercolor at bottom (B).
(A) Pencil sketch on paper, looking up Seine River in Paris with city on either side, boats in water and arched bridge in distance. Sign at bottom left: "L.M. Paris '72" 3.875 inches wide by 1.875 inches high.
(B) Monochromatic grey-to-black watercolor, except for white paint applied to sun on horizon and white highlights to main trunk to trees. River scene, with trees, hills in distance, and sun on horizon. Unsigned. 3.25 inches wide by 2.3125 inches high.
Newly framed on light blue background with white under matting; glass covered; greenish wood frame with black speckles. Written by Wendell Zercher.
Watercolor of a soldier in uniform, a Lancaster Fencible, done on paper board and framed. Soldier is shown in Civil War officer's uniform, standing at center, looking to his right with his right arm akimbo and his left hand resting on an unseen masonry structure at the base of several columns shown at soldier's left. His high hat with plume rests y his left hand and a flag rises prominently at a 45 degree angle behind him. Seen in distance beyond solider's right elbow is a military monument identified as the Battle Monument in Baltimore, MD, commemorating the War of 1812.
Portrait on paper board is rape-mounted into a wooden window mat constructed with a molded opening wrapper with paper? and now painted gold. Window mat has a white paper facing (probably a recent addition).
Reverse of paper board has inscriptions which are only partly legible. At top appears to be "Property/ H.E. Slaymaker," near bottom is "Dr. John --Esbenshade/Eshleman?..." and at bottom is "...Lancaster Fencibles/ 1838."
Frame appears to be original to the painting. It is a moderately heavy molding, done in gilt, of which most is worn off except for the cover section.
(Written by Wendell Zercher)
Provenance
Not a family painting. Donor's husband, Bruce Gingrich, purchased this painting at a sale held by a patriotic men's organization located just south of Trinity Lutheran Church on South Duke. Apparently the organization was moving or going defunct. Donor guesses this may have been circa 1960s. According to the 1923 Directory, the G.A.R. building/Post 84 was located at 43 South Duke St.
Watercolor is faded and retouched in areas (seen in white and black areas); paper is foxed and distorted (not flat) and separating/tearing away from its window mat. Artwork and frame are dusty and soiled inside and out. Frame is loose at several joints and gilt is very worn and in poor condition.
