Color print of a two and a half story stone house and outbuildings in a rural setting. A stagecoach pulled by four horses is passing on a dirt road in front of the house. There is a small oval portrait of Robert Fulton in the center of the lower margin.
Color print of a large gathering of soldiers and Indians. A dirt road seperates the soldiers, seated in five rows, from a large circle of Indians. More Indians are seated and standing in the foreground and soldiers guard tents on the left.
The Ancient Order of United Workmen (AOUW) was one of the first fraternal associations to provide mutual insurance policies for its members. Founded in 1868, the AOUW was organized in a similar fashion to the Odd Fellows and Freemasons, providing mutual assistance, support, and organization for working men in a community. During this time, insurance was mainly available to commercial interests, but the AOUW and other labor-associated groups provided a financial safety net for its individual members in the occurrence of illness or death.
Albert H. Fowler bequeathed his Ancient Order of United Workmen $2,000 death benefit to his son, Clarence Fowler, upon his death September 30, 1888. Fowler served as the recorder for the lodge in Carroll County, New Hampshire which was governed by the Grand Lodge in Massachusetts. The Death Certificate is number 688 and bears a blue seal from the Grand Lodge of Massachusetts and a red seal from the Carroll Lodge No. 7.
This patriotic lithograph poster of Centennial Exposition, Philadelphia, 1876 was supposedly commissioned by the United States Congress for the official celebration of the US Centennial. Depicted is a classically dressed female Liberty/Columbia figure in center, full length seated holding wreath of laurel leaves and wearing a phygian cap, surrounded by flags and stars, and at her feet is a large eagle holding a shield in its claws. The figure is surrounded by border of 18 oval bust portraits of presidents of the United States from Washington to Grant. Below the eagle in the center bottom of the image are oval bust portraits of the following six Revolutionary War heroes: Israel Putnam, Philip Schuyler, Horatio Gates, Nathaniel Greene, Benjamin Lincoln, and John Sullivan Above is birds-eye view of the exposition grounds and small oval vigettes of Independence Hall, Philadelphia (top left) , Bunker Hill Monument, Boston (top center) and Faneuil Hall, Boston (top right) . Below the center image is text and in the lower left below the date 1776, is a scene of a Revolutionary War battle labeled "The Struggle For Liberty." Below the 1876 date in the lower right is are side by side farm and city scenes labeled "Peace And Prosperity."
The Black and gray-green tint on tan-white lithograph was produced by George Stinson & Co. Publishers from Portland, Maine. The print was also issued in color.
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."
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.