Temple of flora, or, Garden of nature, being picturesque, botanical, coloured plates of select plants, illustrative of the same, with descriptions
Temple of Flora was first published as the concluding part (pt. 3) of Thornton's larger work: New illustration of the sexual system of Carolus von Linnaeus (1807) The Temple of flora was issued with a separate engraved titlepage contained on 2 leaves, bearing the date 1799; the text consisted of descriptions of the plants, poetry and miscellaneous material. Plates are primarily aquatints and mezzotints executed by a variety pf artists and engravers; signed by artists: Russel [Russell], Opie, Reinagle, Perther, S. Edwards, Thornton and Henderson; and engravers: Caldwall, Burke, Ward, Elmes, Warner, Earlom, Lewis and Hopwood, Sutherland, Medland, Dunkarton, Stadler and Landseers. "Originally published in parts between 1799 and 1807; published in book form with additional material and plates in 1807"--ESTC. The work was first advertised in 1797, and seems to have been issued in parts at twenty-five shillings each between 1799 and 1807; no two copies are exactly alike as Thornton made up copies using different combinations of plates. Most plates with date and publishing information printed at bottom, others have date added in pencil; many plates are in 2nd (or later state) according to Grigson in Thornton's Temple of flora (1972) Plates are arranged in the order in which they appear in the original contents sheet. Cf. Grigson, G. Thornton's Temple of flora, 1972.
[28] leaves of plates : all ill. ; 52 cm.
Glass transom window from the front entrance to the Athenaeum of Philadelphia: ATHENAEUM 219 Lettering is formed by reverse glass gold leaf gilding. The exact age of this window and the date of its removal are unknown; however, a 1923 photograph in the collections of the Athenaeum clearly shows the transom window in place over the front door.
Board of Directors Minutes, Volume 2, 1821-1832
Record of Strangers, Volume 6, 1957-2006
Record Of Strangers, Volume 5, 1847-1956
Names of Gentlemen Proposed and Annual Visitors, 1816-1818
Walnut Street Theatre ... : twelfth night of the popular Ravel Family! Who will appear in three successful entertainments, The Green Monster! La Fete Champetre! and a grand divertisement embracing nine national dances! To be executed by J. Bertin, M.P. Brillant, Francois Ravel, A. Ravel, Mme. Marzetti, M'lle Lehman & M.H. Wells. Saturday evening, Jan. 26th, 1850 ... The evening's entertinment will commence with a new farce, called Cousin Cherry.
U.S. Job Printing Office, Ledger Building
Record Of Strangers, Volume 4, 1836-1847
Last grand gala night : ǂb Italian opera! Chestnut St. Theatre. Last night of the season! Saturday evening, Jan. 11th, 1851 ... Catarina! ou La reine des bandits! ... Pas strategique / ǂc by Caroline Rousset ; La saltarella by Caroline & M. Rousset ; Grand pas des roses ; The prison scene ; Grand march of the masks / conductor, Max Maretzek.
United States Job Printing Establishment
American Imprints Broadside 1851 Chestnut
Record Of Strangers, Volume 3, 1828-1835
Barnum's Museum, Corner of Seventh and Chesnut [Chestnut] Streets...
Characters and Traits of Mrs. Lydia Coggins by Dr. Gore
American Imprints Broadside 184-? Phren
Catalogue of the Books and Other Articles Belonging to The Athenaeum of Philadelphia, 1814
Tin Sign: American Institute of Architects, Philadelphia Chapter, Upper Floor
The Philadelphia Chapter AIA occupied the 3rd Floor East Room of the Athenaeum.
Wooden Sign: The Athenaeum, Second Floor
During the 19th and much of the 20th Century, The Athenaeum rented the first and third floors of its building to a variety of businesses and institutions. The Athenaeum occupied the second floor.
Tin Sign: Philadelphia Chapter AIA, Upper Floor
Athenaeum of Philadelphia Bicentennial Banner
This is one of the banners that hung from lamp posts around Washington Square during the Athenaeum's Bicentennial year. This particular banner hung on the NE Corner of 6th and St. James Sts.
Tin Sign: The Athenaeum, Arthur M. Kennedy ~~ Librarian
Arthur M. Kennedy was the Athenaeum Librarian from 1938-1954
Specification of New Hall of Athenaeum, Philadelphia
Specifications for the Athenaeum building, with edits, signed by Architect John Notman
Purchased by William Tilghman, Esq. Received by Roberts Vaux, Treasurer
Superintendence Committee Minutes, Volume 2, 1819-1826
Rules For The Government of the Rooms and the Admission of Stockholders and Visiters [Visitors], 1847
Record Of Strangers, Volume 2, 1819-1827
Record Of Strangers, Volume 1, 1814-1819
"The 1774 Patent for the ground for the Gaol, Work House, and House of Correction in Walnut Street. The Athenaeum was erected upon the site of the Walnut Street Prison."
Superintendence Committee Minutes, Volume 1, 1815-1819
Board of Directors Minutes, Volume 1, 1814-1821
Bust of Napoleon Bonaparte, with head facing forward, in the Imperial Roman portrait form. 1,200 versions of this official bust (Napoleon's favorite, based on Antoine-Denis Chaudet's 1799 modeling) were carved at Carrara, Italy.
Sculpture of Pauline Bonaparte Borghese reclining semi-nude on a cushioned day-bed, holding a piece of fruit. She is posing as "Venus Vincitrice." This piece is almost identical to the life-size original in the Villa Borghese in Rome, except this version has no bracelet and a non-extended pinky.
Piece of curtain said to be from Point Breeze, Joseph Bonaparte's home near Bordentown, New Jersey. On paper which was pinned to curtains: "Piece of Madame Joseph Bonaparte's curtains." Textured beige background with raised vertical stripes. Small embroidered design of flowers. This scrap of fabric was preserved by the Bordentown Library as a souvenier taken when the furnishings of "Point Breeze" were sold at public auction in 1847.
Piece of curtain said to be from Point Breeze, Joseph Bonaparte's home near Bordentown, New Jersey. On paper which was pinned to curtains: "Piece of Madame Joseph Bonaparte's curtains." Background is beige with raised vertical stripes of alternating solid and broken bars. Embroidered with heavy silk threads (rose, pink, beige, yellow, black and green) in main design of clusters of assorted flowers. This is bordered by an embroidered vertical pattern of alternating discs and petals in shades of gold, brown and pink. This scrap of fabric was preserved by the Bordentown Library as a souvenier taken when the furnishings of "Point Breeze" were sold at public auction in 1847.
Oval miniature framed portrait of Josephine Imperatrice (Empress Josephine, Josephine Bonaparte). Painted on ivory. Brass backing is engraved Josephene Imperatrice. Wood frame, glass glazing. A small etched triangular shape, near the top of the brass backing, may be a maker's mark.
Metal (pewter?) figurine of Napoleon, 1769-1821. Mounted on a wood base, with inscribed label. Sculpted by Faches (?).
Metal (pewter?) figurine of Josephine de Beauharnais. Mounted on a wood base, with an inscribed label.
Metal figurine of Bonaparte carrying a flag at the Arcole Bridge. Mounted on a wood base, with inscribed label. Based on a 1796 painting by Antoine-Jean Gros. Sculpted by Faches (?)
Ceramic figurine of Napoleon Bonaparte, standing on a base labeled "Napoleon I."
Miniature portrait of Napoleon Bonaparte
Framed miniature portrait of Napoleon Bonaparte. After the painting "Napoleon in His Study" by Paul Delaroche, 1838. Painting on ivory. Brass frame; glass glazing. There are two small black marks near the lower right edge that look like the letters "VI" (?). The frame is not perfectly round; it is slightly oval-shaped.
Framed portrait painting of Napoleon Bonaparte.
Small oval portrait bust of unidentified young woman, facing three quarters to left. Wide spaced almond shaped eyes, black curled hair parted in center and drawn up, with ornamental comb containing two rows of red beads. Wears pink v-neck dress over white 3-layered ruffled collar. Oval mat. Gilt and gesso frame: Inner frame is oval, outer frame is serpentine oblong with floral and foliate scroll decoration at corners. (Frame is identical to frames for 1977.05.01-03)
Small oval portrait of Eliza Fremineau Chastelain (daughter of Monsieur Fremineau, 1977.05.01). Waist view, seated, facing three quarters to the right. Hair is parted with curls at sides. Wears untied blue bonnet, long sleeved black dress with white lace collar and cuffs, and bow at waist. Holds white gloves. Chair has scrolled arms, backswept scrolled crest and is upholstered in red. Vertical scrolled architectural detail in right background. Oval mat. Gilt and gesso frame: Inner frame is oval, outer frame is serpentine oblong with floral and foliate scroll decoration at corners. (Frame is identical to frames for 1977.05.01-02, and 1977.05.04)
Leloir, Heloise (nee Colin) (b.1820 Paris-d.1873 Paris)
Framed watercolor painting of Waln Grove, 1797. Waln Grove was a country estate house built in 1742 by Philadelphia merchant Robert Waln. It was located in Frankford, which is now a section of Philadelphia. The painting shows the house sitting atop a gently sloping hill, with trees and a fence along the sides.
Bronze bas relief portrait of Samuel Breck, depicted in profile view within an oval ornately-carved oak rococo style frame. Born in Boston and educated in France, Breck (1771-1862) served as president of the Athenaeum from 1845 to 1862. It was during his tenure that the cornerstone of the present Athenaeum building was laid in 1845. In 1855 the Board of Directors decided to honor Beck's service to the institution by commissioning a medallion of him by sculptor Henry Dmochowski Saunders. A political exile from Lithuania (then part of Russian Poland), Saunders lived in Philadelphia from 1853 to 1857, having developed a good reputation for creating busts, medallions and statuettes of many notable figures. His busts of Kosciuszko and Pulaski are in Washington, at the Capitol.
Hollow plaster cast of Minerva, the Roman goddess of wisdom, trade, the arts, and strategic warfare. The Romans identified her with the Greek goddess Athena. Although Minerva is often portrayed wearing a helmet, in this sculpture she is seen without a helmet; instead, a narrow band encircles the front top of her head, and her wavy tresses are gathered in the back. The bust was deposited at the Athenaeum in November of 1814 with several other plaster castings by the sculptor. When moving out of the American Philosophical Society (where the Athenaeum had been renting rooms) and into their own new building in 1847, the Athenaeum for some reason left the bust of Minerva behind. It was finally returned to the Athenaeum in 1961.
Hollow plaster cast bust of English poet, historian and intellectual John Milton (1608 - 1674), best known for Paradise Lost (1667), widely considered the greatest epic poem in English. According to the minutes of the Athenaeum (October 18, 1847), this bust was given to the Athenaeum in 1847 shortly after the new building opened.
Hollow plaster cast bust of William Shakespeare (1564-1616), renowned English poet, playwright and actor, regarded by many as the greatest dramatist of all time. According to the minutes of the Athenaeum (October 18, 1847), this bust was given to the Athenaeum in 1847 shortly after the new building opened.
Alexander Hamilton (1757-1804) served as secretary and aide-de-camp to Washington during the American Revolution. After the war, he studied law and began a distinguished service in the new government. In 1789 he became the first United States Secretary of the Treasury and was instrumental in organizing the country's finances and in establishing a national bank. Hamilton died at the age of forty-seven from wounds suffered in a duel with his political opponent Aaron Burr. This plaster replica of Giuseppe Ceracchi's 1794 marble bust was made by Lanelli following Hamilton's tragic death. Ceracchi (b.1751), the renowned Roman sculptor, visited Philadelphia in 1791 and 1794. Here he modeled many of America's founding fathers, Washington, Jefferson, etc., in the guise of Roman emperors. The engraving of Hamilton on the US $10 bill is based upon the Ceracchi bust. Banished from Italy because of his liberal political views, Ceracchi was executed in Paris in 1801 after plotting to assassinate Napoleon. The bust was painted in 1955.
Glazed ceramic phrenology head. Areas of the skull are delineated and labeled in black lettering, each area indicating a particular psychological trait. Front base reads: Fowler's IMPROVED PHRENOLOGICAL HEAD. Two base sides read: AFFECTIVE PROPENSITIES and INTELLECTUAL FACULTIES. Underside of base reads: ACME CEREBAL [illegible]. Phrenology is based on the belief that certain delineated areas of the brain are responsible for different functions, and that an individual’s personality and character can be ascertained by studying the corresponding bumps and indentations on the person’s skull. The theory was developed by German physician Franz Joseph Gallin in the 1790s, and further advanced by his assistant Johann Gaspar Spurzheim. Phrenology faced skepticism from the scientific community, but enjoyed immense popularity with the American public throughout the 19th century. Today, phrenology is regarded as a pseudoscience.
Phrenology head. Hollow plaster, incised PHRENOLOGY on the front, with areas of the head delineated and numbered . A partially missing label on the back lists the numbered areas and psychological attributes. Phrenology is based on the belief that certain delineated areas of the brain are responsible for different functions, and that an individual’s personality and character can be ascertained by studying the corresponding bumps and indentations on the person’s skull. The theory was developed by German physician Franz Joseph Gallin in the 1790s, and further advanced by his assistant Johann Gaspar Spurzheim. Phrenology faced skepticism from the scientific community, but enjoyed immense popularity with the American public throughout the 19th century. Today, phrenology is regarded as a pseudoscience.
Plaster cast of a decorative stone sculpture set in an exterior masonry wall of the Moore House at 1321 Locust Street, Philadelphia. Cupid is flanked by two dolphins within a cylindrical frame. 19 3/8" diameter x 6 1/2" deep. The Moore House was built in 1890 and was designed by architect Wilson Eyre.
Painted porcelain bisque portrait bust of a young woman, by French sculptor Paul Duboy (1830 -1887). Inscribed on the back: A&L. / Paul. Duboy. SC. The subject has light blue eyes, silvery hair, and her head is turned slightly towards her left. She wears a pale blue plumed hat, a high-collared lavender and purple capelet edged in gold trim, and an intricate gold necklace. Duboy produced multiple copies of many similar decorative porcelain busts and figurines in varying colorways.
Small replica of Alexander Milne Calder's sculpture of William Penn, attached to a wood block base. Bottom of the base is stamped "ACADEMY OF MUSIC OF PHILADELPHIA." The full size version of this sculpture is a 37-foot high, 27-ton bronze figure of William Penn (1644 - 1718) atop Philadelphia's City Hall. English colonist William Penn, a member of the Religious Society of Friends (Quakers), founded the Commonwealth of Pennsylvania. The figure of Penn wears colonial garb, with his right hand extended gracefully, and a copy of the Charter of Pennsylvania in his left hand.
Cast bronze portrait bust of Charles Garnier (1825-1898). Sculptural details such as Garnier’s unkempt curly hair and his disheveled clothing are indicative of sculptor Jean-Baptiste Carpeaux’s skill at infusing his works with spontaneity and naturalism. Architect Charles Garnier won the Paris Opera commission in 1861 over a field of nearly 200 contestants. Garnier and Carpeaux were friends, and Carpeaux executed many sculptural works for Garnier's finest building, the Opera. A version of this portrait bust greets visitors as they climb the grand stair of the Opera, and there is a third casting at the Louvre in Paris. Carpeaux was the most successful French sculptor of the mid-19th Century; he was widely recognized as the official sculptor of the Second French Empire.
Jean-Baptiste Carpeaux. Foundry mark: E. Gruet Jeune Fondeur
Plaster maquette (small scale model) of the final version for the 37-foot high, 27-ton bronze figure of William Penn (1644 - 1718) atop Philadelphia's City Hall, by Alexander Milne Calder (Scottish-American, 1846-1923). English colonist William Penn, a member of the Religious Society of Friends (Quakers), founded the Commonwealth of Pennsylvania. The full length figure of Penn wears colonial garb, with his right hand extended gracefully, and a copy of the Charter of Pennsylvania in his left hand.
Cast bronze portrait bust on wood base of Dr. Charles Wharton Stork (1881-1971) by his son Francis Wharton Stork. Dr. Stork was a Philadelphia-born poet, playwright, literary critic, editor, and educator. He served on the board of directors of the Athenaeum of Philadelphia for forty-nine years, from 1919 to 1968. This portrait bust was given to the Athenaeum by the sculptor after he and his brother and sister created the Charles Wharton Stork lecture endowment at the Athenaeum.
Plaster portrait bust of Benjamin Franklin (1706-1790) by Jean Antoine Houdon, after an original from 1778. Benjamin Franklin, American Founding Father, writer, printer, postmaster, scientist, inventor, statesman, and diplomat, known for his wit and humor, is depicted here with shoulder-length hair and a plain suit coat, buttoned vest and simple cravat. French sculptor Jean Antoine Houdon was well known for portrait busts of public figures of the late 18th century. Houdon sculpted Benjamin Franklin’s likeness during Franklin’s tenure as American minister to France from 1776 to 1785. While only two marble versions of the bust are known to exist (one at the Philadelphia Museum of Art, the other at the Metropolitan Museum of Art), Houdon also produced plaster versions such as this one in response to the public’s fascination with the popular American statesman.
Jean Antoine Houdon, after an original from 1778
Plaster portrait bust of Georges Cuvier, depicted with long sideburns, and short wavy hair forming a v-shaped widow's peak on the forehead. Inscribed along bottom front: G. CUVIER. Jean Léopold Nicolas Frédéric Cuvier (1769 - 1832), known as Baron Georges Cuvier, was a French naturalist widely admired for his research and publications on zoology and paleontology. Cuvier was a major figure in natural sciences research in the early 19th century and was instrumental in establishing the fields of comparative anatomy and paleontology through his work in comparing living animals with fossils. He was perpetual secretary of the National Institute and as a public official was connected with public education generally. In 1808 he was placed by Napoleon upon the Council of the Imperial University. The Athenaeum of Philadelphia holds books by Cuvier on the subjects of zoology, geology, and paleontology in its Rare Book Collection.
Plaster portrait bust of R. Swain Gifford. The subject gazes straight ahead toward the viewer. Surface patina accentuates the texture of the subject’s short cropped hair and full beard. “RS GIFFORD” is incised on the bottom front of the bust. Robert Swain Gifford (1840 – 1905) was an American painter and printmaker. He spent much of his youth in the coastal areas of Massachusetts and Connecticut, where he developed an affinity for New England land- and seascapes. In 1866, he settled in New York City, where he taught art for nearly thirty years at the Cooper Union School, and helped establish the New York Etching Club. He won medals at the 1876 Philadelphia Centennial Exhibition and numerous other venues. His work is represented in a number of institutions, including the Pennsylvania Academy of Fine Arts and the Smithsonian American Art Museum. William Rudolf O'Donovan (1844 – 1920) was a successful self-taught sculptor. Born in Virginia, he served in the Confederate Army. After the Civil War, he opened a studio in New York City and began his career as a well-regarded professional sculptor, producing many public monuments as well as portrait busts and bas reliefs of prominent persons, including Walt Whitman, Thomas Eakins, and George Washington.
The Philadelphian Robert Cornelius (1805-1893), son of the silversmith Christian Cornelius, was a pioneer daguerreotypist and successful lighting manufacturer. The Athenaeum owns photographs by Cornelius, and original lighting fixtures for the Athenaeum were designed by Cornelius and Company. Cornelius is depicted here in an idealized classical Greek manner, his gaze turned slightly to his right, and wearing a loosely draped garment gathered around his shoulders. This bust descended in the Cornelius family and was given to the Athenaeum in 1992 by John C. Cornelius, III, Robert Cornelius' great grandson.
French bronze statue of Mercury as patron god of medicine and healing, on a round Italian marble base and bronze plinth. Mercury carries the caduceus (a staff entwined by two snakes) and wears winged sandals and a petasus (winged cap); stands balanced on one foot upon a column of air emanating from wind god Aeolus. Probably a 19th-century copy after Jean de Bologne, 1564.
Hollow painted plaster cast of an unidentified bearded man, executed in the classical manner with the head at a slight turn to the right. The man's wavy hair brushes the tops of his ears; he has a neatly trimmed full beard and no mustache. Incised below the left shoulder: Chs Bullett 1855. French-born sculptor and stoneworker Charles Bullett (1820-1873) studied at L'Ecole des Beaux-Arts in Paris before moving to New York City in 1848, and then to Cincinnati, Ohio in 1850. He earned widespread acclaim for his sculpture, and served as the principal of the sculpture department during the building of the capitol in Columbus. He eventually settled in Louisville, Kentucky, where he helped establish the Muldoon Monument Company, a marble cutting firm highly regarded for its work throughout Kentucky and the American South. Bullett supervised the production of monuments in the firm’s workshop in Carrara, Italy, until he died in 1873.
A bronze equestrian statuette representing a "chasseur à cheval," a French cavalry soldier of the Napoleonic era. Faces left. Soldier is depicted wearing a short fur hat with plume; a coat with fur collar, cuffs and braided front with four rows of buttons; and boots with spurs. Hanging from the belt around the soldier's waist is a sword and cartridge box with an eagle badge. The horse carries the soldier's blanket roll. The statuette rests on an oval wooden base, which is painted black. Born in Paris of Russian parents, Pierre Nicolas Tourgueneff (1854-1912) specialized in portrait and equestrian sculpture. He exhibited at the Paris Salon from 1880 to 1911, four times receiving honorable mentions and the Grand Prize at the Universal Exposition of 1889. Tourgueneff's realistic modeling of this uniformed soldier and horse reflects more than an artistic interest in his subject. He was a member of the Legion of Honor, achieving the rank of "Chevalier" in 1903, after twenty years of active service. The Legion of Honor, instituted by Napoleon in 1802, is France's highest honor for citizens of military or civil distinction.
This late 19th-century bronze statuette represents a fusilier (infantryman) in Napoleon's army. Armed with musket and bayonet, the well-equipped soldier wears a tall bearskin hat which is fitted at the front with an eagle badge, and decorated with plume, pom poms, and braided cord. The belt which crosses over the subject's shoulders holds his sword and a cartridge box, which also bears a Napoleonic eagle. Buttoned gaiters, worn to protect the soldier on the march, cover the fusilier's shoes and reach mid thigh. The long skirt of the subject's coat is folded back and hooked up to allow better mobility. Born in Italy, Luca Madrassi (fl. 1869-1914) studied at L'Ecole des Beaux-Arts in Paris. In addition to his realistic military sculpture, Madrassi was a master of the fantastic, modeling such allegorical subjects as fairies, cupids, satyrs and genies.
Brass figure of the Roman god Mercury carrying a caduceus (a staff entwined by two snakes) and wearing winged sandals and a petasus (winged cap). Mercury stands balanced on one foot upon a column of air emanating from the wind god Aeolus, atop a frieze of putti (cherubim or cupids) supported by a marble base. A brass label is attached to base of figure: "Diskos Handicap 1898-1899."
after the original by Jean de Bologne, c. 1580
Marble bust of General George G. Meade (1815-1872), executed in the classical manner with the head at a slight turn to the right. General Meade was a native Philadelphian and served as commander in chief of the Army of the Potomac during the Civil War. Sculptor Joseph A Bailly (1825-1883) was born in Paris and came to the United States in 1848 and to Philadelphia in 1850. In 1876 he became the professor of sculpture at the Pennsylvania Academy of the Fine Arts.
Standing figure of Daniel Webster, facing forward with head turned slightly to left. High prominent forehead, deep set eyes and stern mouth. Subject is depicted wearing a tail coat, with his right hand tucked into his coat above his waist. A draped architectural element is depicted to the right of the subject along with two books; the drapery over the architectural element continues around the rear of the base behind the figure. Incised on back of base: T Ball Sculpt / Boston Mass / 1853. Daniel Webster (1782- 1852), American Statesman, was born in Salisbury, New Hampshire. Aspiring to but never attaining the Presidency of the United States, Webster's political career included terms as a Congressman, Senator, and Secretary of State. His eloquence as a speaker and writer, however, earned him the widest renown. This statuette is a replica of a figure modelled by Thomas Ball (1819-1911), son of a Charlestown, Massachusetts, house and sign painter. Art dealer C.W. Nichols obtained the copyright to reproduce this popular statuette, making it one of the earliest examples of mass-produced American sculpture.
White marble portrait bust, head of a youth, on a black base: probably a nineteenth century copy of the head of Octavian (Augustus) from the Vatican galleries. Augustus Caesar (63BC-14AD), adopted by his great uncle Julius Caesar as son and heir, became the first Roman emperor in 27 BC. Note: From the time he was born in 63 BCE until 44 BCE, he is generally referred to by historians as Octavius. After 44 BCE, when he became the adopted son and heir of his recently-assassinated great-uncle Julius Caesar, he is known as Octavian. Beginning in 26 BCE, he is known as Augustus, the name conferred upon him by the Roman Senate. (See also 1966.01.01.)
White marble bust of Augustus Caesar, on a white marble base. Augustus Caesar (63BC-14AD), adopted by his great uncle Julius Caesar as son and heir, became the first Roman emperor in 27 BC. Augustus was an able administrator and town planner. Arts and literature flourished during his reign, and he is quoted as saying that he found Rome a city made of bricks and left it a city made of marble. Note: From the time he was born in 63 BCE until 44 BCE, he is generally referred to by historians as Octavius. After 44 BCE, when he became the adopted son and heir of his recently-assassinated great-uncle Julius Caesar, he is known as Octavian. Beginning in 26 BCE, he is known as Augustus, the name conferred upon him by the Roman Senate. (See also 1972.03.01.)
Cast bronze sculpture of winter scene with a troika carrying a man and a woman, with a standing driver. Road marker included. This bronze sculpture represents a troika, a Russian sleigh on wooden runners drawn by three horses abreast. It is an example of the Realism movement of mid-19th century Russian art primarily based in St. Petersburg, the cultural center of Russia's art development at that time. The portrayal of Russian folk life was a particularly popular subject of small scale statues in Russian Realism. Alexei Petrovitch Gratcheff (c. 1780- 1850) was born in Russia. He made his career as an engraver, and was a member of the Russian school. Gratcheff studied under the engraver, A. A. Ossipoff, who like Gratcheff engraved portraits of famous contemporaries, book illustrations, and copies of paintings."
This 19th century marble reproduction is based on a badly damaged sculpture found in the mid 1700s in the Roman amphitheater of Capua. That sculpture found in Capua is a 1st- century Roman copy of an earlier work in the style of Greek sculptor Scopas. The figure was originally thought to represent Psyche, goddess of the soul, but more likely represents Aphrodite, goddess of love and beauty. The Capua sculpture is now housed in the National Archaeological Museum of Naples, Italy.
Bronze bust of William Shakespeare (1564-1616), renowned English poet, playwright and actor, regarded by many as the greatest dramatist of all time. This bronze bust shows Shakespeare with his head turned slightly to the left, hair brushed back, bearded, wearing tassels at the collar and a cloak over the right shoulder. It is a copy of the original sculpture by John Cheere, a white marble version of which King George IV acquired to place in the Grand Corridor at Windsor Castle. In the late 19th- and early 20th-centuries, Tiffany & Co. produced this and other bronze reproduction sculptures of such prominent figures as Washington, Lincoln and Beethoven, available in a variety of sizes and prices.
From and Original Painting by Paul Delaroche
William Ingraham Kip to Sarah Josepha Hale
Wellsboro Lodge No. 949, K of H, Dues Assesment for Walter Sherwood
W. H. Witte to Sarah Josepha Hale Correction: William H. Witte
Theodore Ledyard Cuyler to Sarah Josepha Hale
Cuyler, Theodore L. (Theodore Ledyard), 1822-1909
Senator Levi Woodbury to Sarah Josepha Hale
Senator John Renshaw Thomson to Sarah Josepha Hale
Thomson, John R. (John Renshaw), 1800-1862
Sarah Platt Doremus to Sarah Josepha Hale Correction: Signature appears to be S. D. Doremus, so possibly Sarah DuBois Doremus , daughter of Sarah Platt Doremus
Sarah Josepha Hale to Harriette A. Dillaye