Sarah Amelia Scull to Sarah Josepha Hale
Mrs. C. A. Hopkinson to Sarah Josepha Hale
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.)
Edwin Forrest Durang (1829-1911) was born into a prestigious family of professional actors and performers. His grandfather, John Durang, was credited with being the first native-born American actor; his father and uncle, Charles and Richard Durang were the first to perform the "Star Spangled Banner."
Edwin F. Durang was listed in the Philadelphia city directories as an architect by 1855. He specialized in ecclesiastical design, most notably those churches and institutions associated with the Catholic Church.
Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections. For information on ordering reproductions of Athenaeum drawings, please see http://www.philaathenaeum.org/rights.html.
Letter from R.L.M. Camden to his son, October 4, 1876
Visitors' Guide to the Centennial Exhibition
Letter from R.L.M. Camden to his son, July 4, 1877
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."
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.
Coats of arms of cities and countries of the world
From and Original Painting by Paul Delaroche
This late 19th-century bronze statuette represents a fusilier 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 Tricesimo, 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. Madrassi exhibited at the Paris Salon and was a member of the "Artistes Francais." Statuette has serpentine-shaped green and white marble base.
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.
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.
Tenth Annual Reunion of the 69th Class Central High School
Wellsboro Lodge No. 949, K of H, Dues Assesment for Walter Sherwood
C.B.C. (monogram?)/List of 8 women's names, including Emma Ingle and Anna Camden/Not so very far from here… (poem and illustration)
Inscribed "R.L. & E. Camden, April 23rd, 1891"
A Musical Evening at Green Hill Pres. Church
A bronze equestrian statuette representing a "chasseur a 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 is represented carrying 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. This cast bronze statue portrays a "chasseur a cheval," a French cavalry soldier of the Napoleonic era. Tourgueneff's realistic modeling of the 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.
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.
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.
Mary Burt (d. 1908) was the niece of William Lehman whose legacy of $10,000 in 1829 provided the funds to construct this building. This three-quarter length portrait was painted by Bernard Uhle (1847-1929) in 1891.
Born in Chemitz, Saxony, Uhle emigrated with his family to Philadelphia in 1851 and at the age of fifteen became a student at the Pennsylvania Academy of the Fine Arts. He opened a portrait studio in Philadelphia in 1877 and later became an instructor at the Academy (1886-1890). It was soon after this time that Uhle became a recluse. He lived alone (with seven cats) for nearly a quarter century. Uhle was presumed dead until 1915, when he suddenly reappeared to present a painting ordered twenty-three years before.
Shober & Carqueville Lithographing Co., Chicago
14th Annual Reunion 69th Class C.H.S. /Menu Illustration
Robert L.M. Camden, Jr. and Emma R. Ingle marriage announcement, 1891
John Sartain was born in London, apprenticed as an engraver to John Swaine (1823-30). In 1830 he married and emigrated to Philadelphia. He was successful as an engraver but not as a publisher (a couple of cultural journals were ill-fated). He was Vice President of Philadelphia School of Design for Women (later Moore College of Art), Freemason; Artists Fund Society; Society of St. George; Director of P.A.F.A.; and a Freeman of London. During the Centennial Exposition in Philadelphia he was chief of the Bureau of Art.
Russell Smith (1812-1896) was born in Glasgow, Scotland and came to the U.S. in 1819 and later studied art with James R. Lambdin. His diversified career included work as a scene painter, landscape painter and scientific draughtsman. He was a regular contributor at the Philadelphia Academy of Fine Arts (PAFA).
W.W. McKee & Co., Worlds Fair Tours, Philadelphia
The Twentieth Annual Report of the Carriage Builders National Association
日清戰爭日勢平壌勝捕圖 Nisshin sensou, Nissei Heijou shouhou zu Sino-Japanese War: Japanese Military Might Captures Pyongyang
日清戰爭 金州城追撃之圖 Nisshin sensou Kinshuujou tsuigeki no zu Sino-Japanese War: Pursuing the Retreating Enemy at Jinzhoucheng
Firing Cannon from Battleship around Haiyang Island
日清戰爭鳳凰城大勝利ノ圖 Nisshin sensou, Hououjou daishouri no zu Sino-Japanese War: Picture of the Great Victory at Fenghuang
Kaiyo Shima Oki Saikyomaru Funsen no Zu Sino-Japanese War, The Warship Saikyomaru
Japanese army storming the gates of the walled city of Pyongyang
Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.
For information on ordering reproductions of Athenaeum drawings, please see http://www.philaathenaeum.org/rights.html.
A Sail with the Ports from St. Patricks Pier
Napoleon Bonaparte, French General (pin)
Pin with image of Napoleon Bonaparte, French general. Made by the Whitehead & Hoag Company, c. 1896, for the American Pepsin Gum Co. as an advertising giveaway.
George S. Harris & Sons; Philadelphia Press
Souvenir of Philadelphia, Broad St Station and Philadelphia & Reading Terminal
The Westminster Senior Quarterly, First Quarter 1898
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
Institute for the Instruction of the Blind
The Presbyterian Journal, Thanksgiving 1900
The Presbyterian Journal, Thanksgiving 1901
William L. Price was one of an influential group of architects working during the late nineteenth and early twentieth centuries in Philadelphia. Aside from his importance in the area of design based on Arts and Crafts Movement ideals, Price was one of the founders of an arts and crafts community, Rose Valley, outside of Philadelphia. He attended the Westtown School, but left in 1877 to practice carpentry, abandoning that for architecture when he entered the office of Quaker architect Addison Hutton in 1878. According to the obituary published by the Philadelphia Real Estate Record and Builders Guide, Price also spent some time with Furness & Evans; however, that information has not been documented by other sources. By 1881 Price and his brother Frank L. Price had established a partnership which would last until 1895, with a practice chiefly based on residential design, including houses for Wendell & Smith, the developers of Wayne and St.Davids, PA, as well as the Pelham and Overbrook neighborhoods of Philadelphia. In 1895 Price began to practice independently, but in 1903 he established a partnership with M. Hawley McLanahan which would endure under the name of Price & McLanahan until his death, with McLanahan continuing to use the name for several years thereafter and eventually producing a successor firm, McLanahan & Bencker. Although well-known for residential design, Price's work also included the Traymore Hotel in Atlantic City, NJ, and Jacob Reed's Sons store in Philadelphia.
As interested in social reform movements as he was in architecture, Price helped Frank Stephens to found Arden, DE, a single-tax community outside of Wilmington. In 1901 he helped establish Rose Valley, an arts and crafts community in which many architects were involved, but none so vitally as Price. Although the earlier parts of the community were based on existing buildings, Price later designed a number of residences, among those several for the Rose Valley Improvement Company. Price was joined in the Rose Valley endeavor by his brother Walter Price and Walter Price's partner, William McKee Walton, as well as by younger architects like Carl deMoll and John M. Dickey.
North Philadelphia Annual German Monument
The Assembly Herald, General Assembly Number 1903