Bail-handled, raised globular kettle with overall Chinoserie and floral repousse chased decoration on a circular stand having four S-scroll legs topped by crowned bearded man's masks in scallop shells and ending in shell feet that are connected by floral garlands. Flared, swing-up, hinged lid with downturned, scalloped edge features an Oriental man seated cross-legged with his left hand on left knee and right arm against body for finial. Continuous landscape design around body depicts on front a bird in flight above two men, one holding flowers and the other a lantern on pole, walking towards each other at river's edge framed by pavilion complexes and two inclined pines, a lamppost at right and additional juts of land with pagodas and a sampan in distance; back has large pine and coconut trees bending over bridge to form empty reserve at center. Bail handle has a hollow, bow-shaped grip pinned into thin ivory insulators and cast S-curve supports; bow face decorated with a cast cartouche applied at center amidst engraved flowers, while underside has ruffled acanthus. S-curve spout covered with acanthus and overlapping ruffled shells; body perforated at spout. Cast garlands on the stand hide the burner frame which holds a removable, ring-handled, bowl-shaped, double spirit burner with screw top on plain footring; wicks included. Pins on small link chains fastened to the stand fit into three- and five-knuckle hinges on opposite sides of kettle to secure it in place and allow it to tilt.
Underside of kettle and burner both struck above and below centerpunch: "BAILEY & CO." and "PHILAD." in raised roman letters in rectangles; kettle is scratched "233" between those marks, while burner has three additional marks oriented sideways between them (spreadwing eagle clutching laurel leaves and arrows in rounded rectangle above the raised roman letters "U" and "S" in ovals). Faint track marks across burner underside. No marks on stand.
Part of six-piece coffee and tea service, DL*276317.0001-.0006.
Color print of three men seated around a campfire while a fourth man tends donkeys. Rocky hill formations in the background. Plate from "U.S.P.R.R. Exp. & Surveys, 35th Parellel."
Robinson’s Progressive Primary Arithmetic for Primary Classes in Public and Private Schools is part of Robinson’s Series of Mathematics, and contains simple lessons for young children on addition, subtraction, multiplication, and fractions. The lessons consist largely of word and practical problems, some with illustrations on currency and measurements. The book is 80 pages, with a tan front cover has a black and white illustration of a girl reading and a boy playing with numbered cards, while their mother watches over them. The back cover lists other textbooks in the American Educational Series for "schools and colleges" by the same publisher. This book is inscribed presubably by the student in script inside front cover and title page "Luella May Weirick." in graphite and ink. Additional marks throughout text such as the name Carrie Jane Hoffman on the top of page 44. There is also a partial legible inscription inside back cover about Kissing Mr...
The creator of this series is Horatio Nelson Robinson (1806-1867), mathematician. He attended common school as a child; at 16 he developed astronomical calculations for an almanac. He attended the College of New Jersey at Princeton at age 19, and then became a professor of mathematics at the Naval Academy. Robinson wrote his first math textbook in 1847 and followed it up with numerous other textbooks. He received an honorary A.M. degree from the College of New Jersey at Princeton in 1836.
Daniel W. Fish (1820-1899) was the prolific editor of this text, and numerous others on arithmetic for primary school students and teachers alike.
This volume was published by Ivison, Blakeman, Taylor & Co. in 1873. Founder Henry Ivison (1808-1884) was one of the pioneers of the schoolbook industry in America. The business he established in New York City grew and prospered under several partnerships, with the name of Ivison always at the head of the firm. Intense competition in the American textbook industry caused several of the leading publishing houses to join forces. In 1890, the consolidation of Ivison, Blakeman and Co., Van Antwerp, Bragg and Co., A.S. Barnes & Co., and D. Appleton and Co. resulted in the creation of a new corporation known as the American Book Company.
Two-handled, raised bulbous baluster-shaped hot water urn with overall Chinoserie and floral repousse chased decoration on a circular stand having four S-scroll legs of overlapping shells topped by putti masks and ending in shell feet that are connected by floral garlands. Flared cover with downturned, scalloped edge features an Oriental man seated cross-legged with his left hand on left knee and right arm against body for finial; matching figure serves as grip on spigot handle. Continuous landscape design around body depicts on front two birds in flight above two men walking towards each other at river's edge framed by pavilion complexes and two inclined pines, additional juts of land with pagodas and a sampan in distance; back has large pine and coconut trees bending over bridge to form empty reserve at center. High-loop, C-curve handles of overlapping leaves are pinned into ivory insulators and have bases of flared leaves. Cast garlands on the stand hide the burner frame which holds a removable, flattened globular, screw-top double spirit burner on molded foot; wicks included. Pins on small link chains fastened to the stand fit into three- and five-knuckle hinges on front and back of urn to secure it in place or allow it to tilt.
Underside of urn and burner both struck with same marks around centerpunch: an oval mark for "BAILEY & C\O/. (arched) / 136 / CHESTNUT S\T/. PHILA (curved)" in incuse roman letters below four pseudo hallmarks (spreadwing eagle clutching laurel leaves and arrows in rounded rectangle, raised roman "U" in oval, 4-pointed American shield, and left-facing saddled elephant statant in clipped-corner rectangle). Burner additionally inscribed "15398" upside down above marks. No marks on stand.
Part of six-piece coffee and tea service, DL*276317.0001-.0006.
Color print of a two-story fishing resort on the banks of a river (Delaware). A man is fishing from the end of a dock on which two couples stroll. A rowboat filled with men and women is in the right foreground.
Color print of men and women on a veranda in the foreground viewing a covered bridge over a river (Schuylkill) and the buildings of a waterworks. The grounds of a park are in the background.
Black and white print of an interior view of Independence Hall decorated in Victorian style with portraits and prints covering the walls. The Liberty Bell with an eagle on top sits on an ornate pedistal on the right. A statue of George Washington is against the far wall.
This 1862 print depicts a Union camp, composed of 10 rows of tents. Soldiers stand conversing around the tents, as three armed stand watch in the foreground of the image. An American flag dominates the center of the camp. Camp Chase was located in Arlington Heights, Virginia, and the 15th Connecticut Volunteer Regiment stayed here during November 1862, before taking part in the Battle of Fredericksburg the next month. It was commanded by Colonel Dexter R. Wright, whose name is listed on the print.
This piece was created by Louis N. Rosenthal, who was born in Russian Poland. He studied art in Berlin before immigrating to the United States around 1850. He settled in Philadelphia, where his business produced lithographs, mezzotints, etchings, and portrait miniatures.
Black and white print, full length portrait of a man (the actor John Collins) standing, wearing a top hat and holding a cane. A facsimilie of the sitter's signature is in the lower right.
Color print of a trotting course depicting a large two-storied club house with verandahs. Pagoda-like viewing stand for officials is in left foreground. Horses pulling sulkies are racing on the course.
Description
A color print of a trotting course depicting a large two-storied club house with verandas. A pagoda-like viewing stand for the officials is in the left foreground. Horses pulling sulkies are racing on the course.
This trotting course in Philadelphia was founded in 1855 and raced thoroughbreds for the first time in 1860. It was eventually converted into an automobile race course in the 1900s after trotting faded as a popular sport.
Many prints published in the North during the Civil War were marketed towards the families of soldiers, who would hang these in their homes to reassure themselves that they remained in the minds of their loved ones away at war. This particular 1864 lithograph features a Union soldier reclining against a rock, atop which is mounted an American flag. In the clouds above the soldier, his dream materializes for the viewer: he returns home, arms outstretched to his wife, parents, and young son. The slumbering soldier is kept warm by a nearby fire, and behind him, a group of his fellow fighters smoke and converse between two cannon, as they wait for the coming battle the next day.
This piece was created by Louis N. and Max Rosenthal, two brothers born in Russian Poland. Louis studied art in Berlin and Max studie.d in Paris and both immigrated to the United States around 1850. They worked together in Philadelphia, producing lithographs, mezzotints, etchings, and portrait miniatures.
The publisher of the print, William Smith, was based in Philadelphia and produced frames for paintings between 1856 and 1860. By 1860, he had expanded to selling and publishing prints and pictures.
Black and white advertising print depicting a seven-story sugar refinery building behind a row of two and a half-story buildings on a city street. The building is the expanded Harrison & Newhall refinery, formerly the Penington Sugar Refinery, circa 1855 or 1856. A number of horse-drawn carts or drays carry barrels to and from the refinery at one end of the street while a traffic jam occurs at the other end. This image was included in the 1856 edition of Colton's Atlas of America, as an example of businesses in Pennsylvania.
The West Front of the U.S. Capitol as viewed from old City Hall (4th and D Streets, N.W.) is depicted in this 1832 lithograph. The cornerstone was laid in 1793 by George Washington. By 1832, the building was an imposing structure, 352 feet long by 282 feet wide, overlooking open fields. The few other structures depicted include the brick city jail, built in 1815 as a temporary Capitol, and a few row houses along New Jersey Avenue. In 1832, running water was added to the Capitol. The Capitol building expanded significantly in following years, but the current dome was not be completed until 1866.
Americans were curious about progress in the nation’s capital. This early lithograph would have been published in a view book with other similar prints and purchased as a gift, commemorative, or souvenir of Washington. The artist was a landscape painter and lithographer known to have sold designs for other city souvenir gift books.
Black and white print of a trotting horse (Whalebone) pulling a sulky and driver. Inscription beneath image gives details of the horse's breeding and record.
Description
A black and white print of a light horse with dark mane pulling a road sulky and jockey on flat stretch of ground in the open country. The jockey wears a heavily padded suit and a cap tied under his chin. The horse’s equipment includes blinders, a bit, and a harness with attachments for draft poles of sulky.
Whalebone was foaled in New York in 1821, bred by General Coles of Long Island through Bishops Hambletonian and a descendant of Coffins Messenger. He stood out from the other trotters of his day because he focused on stamina instead of speed. In 1827, Whalebone was able to trot 15 miles in 58 minutes and, in 1831, trotted 32 miles in an hour and 58 minutes. He and Top Gallant were hailed as the greatest trotters and rivals of their day. In addition, Whalebone had only one eye.
Kennedy and Lucas was a lithography firm based in Philadelphia from 1829-1835. This firm illustrated work for the “Floral Magazine and Botanical Repository” as well as other contemporary works. David Kennedy and William Lucas were the firm’s partners though the firm itself was listed as a looking glass store, where they retailed prints, mirrors, and frames. Kennedy and Lucas was possibly the first commercial lithographic establishment in the city of Philadelphia.
This 1861 print contains two full length posthumous portraits of Colonel Elmer E. Ellsworth, one in regular uniform and the other in the outfit of the Fire Zouaves. Originally born New York in 1837, Ellsworth later moved to Illinois, where he found employment in Abraham Lincoln’s Springfield law office in 1860. He assisted Lincoln in his 1860 presidential campaign, accompanying the president-elect to Washington in 1861. Before the war, Ellsworth returned to his native New York City to raise the 11th New York Volunteer Infantry Regimen. A student of military history and science, Ellsworth was fascinated by the Zouaves, France’s colonial soldiers in Algeria. He emulated the drills and methods of this group when training his regiment and even based the design of his men’s uniforms on those of the Zouaves. Since many of the regiment’s enlistees came from New York’s volunteer fire departments, the unit earned the nickname, the “Fire Zouaves.”
On May 24th, 1861, the day after Virginia secession, Ellsworth entered Alexandria with soldiers from the 11th New York to aid in the city’s occupation, He was determined to remove a large rebel flag that had flown above one of the city’s inns for weeks and had even been visible through a spyglass from the White House. After removing the flag, he was shot by the inn’s pro-slavery owner, and became the first Union officer to be killed during the Civil War. Below his portrait, this print also contains a facsimile signature of the Colonel and the last letter he wrote before he was killed. In death, Ellsworth became a martyr for the Union cause and he was celebrated in printed illustrations, poems, and ballads. His legacy remained an inspiration for young Northern soldiers throughout the war, and “Remember Ellsworth!” quickly became a favorite rallying cry.
John L. Magee was born in New York around 1820 and was employed by the lithographic firms of James Baillie and Nathaniel Currier. He started his own business in New York City in 1850, but moved to Philadelphia sometime shortly after 1852. He was known mainly for his political cartoons, which he produced until the 1860s.