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.
Centuria Linen Finish Writing Tablet (illustrated cover)
Postcard to Miss Mildred (Laures) from Maggie Bennet
Chalfonte Hotel and Boardwalk by Moonlight
Postcard to Miss Frances Walton from Gert H
Chandler, Theophilus Parsons, Jr. (1845-1928), Self Portrait
The importance of T.P. Chandler to the architectural profession in late nineteenth-century Philadelphia cannot be overestimated. Not only as a conveyor of high-style design, often based on European models, but also as the founder of the University of Pennsylvania's Department of Architecture, Chandler substantially affected the architectural climate in Philadelphia and raised the role of architect to new heights of professionalism. Born in Boston, MA, and educated first in the Brookline schools, Chandler spent his freshman year at Harvard University and later studied at the Atelier Vaudremer in Paris. After returning to the United States, Chandler worked in several Boston offices. In 1872, with the persuasion of landscape architect Robert Copeland, then involved in the development of Ridley Park, Chandler came to Philadelphia and opened an office at 705 Sansom Street. While moving to Philadelphia enabled Chandler to capitalize on Copeland's activities in Ridley Park, it also reinforced Chandler's ties to his mother's family, the Schlatters, with grandfather William Schlatter, one of the founders of the Church of the New Jerusalem in Philadelphia, and to the DuPont family in Wilmington, DE, with whom the Schlatters had strong financial ties. Thus, with the Chandlers of New England behind him, and strong professional and familial ties in the Philadelphia and Delaware region, Chandler was successfully launched on an active architectural career. His first commissions reflect his ties to the development of Ridley Park (the Philadelphia, Wilmington & Baltimore Railroad Station on Sellers Ave., the William Smythe residence, and the Ridley Park store on Hinckley Ave.), but by 1874 he was already engaged on commissions for the DuPont family in Delaware. In addition, by 1878, Chandler had been installed as Godey's in house architect and was publishing cottage designs in Godey's Lady's Book. Throughout his career Chandler designed a number of residences, but he became chiefly known as an ecclesiastical architect, with such major churches as the Church of the New Jerusalem at 22nd & Chestnut streets in Philadelphia, Calvary Presbyterian Church in Washington, D.C., and the First Presbyterian Church in Pittsburgh, PA, to his credit.
Chandler served as president of the Philadelphia Chapter of the AlA; he was also an early member of the national organization and received fellowship status in 1886. During the 1880s Chandler served on the Board of Trustees of the Spring Garden Institute, and, along with John Deery, judged their student exhibits of architectural drawings. His commitment to architectural education was to have even greater impact on Philadelphia's professional community in the 1890s, however, since during this time he successfully worked for the organization of the University of Pennsylvania's Department of Architecture, then part of the Towne Scientific School. He served as the Department's executive head for the school year 1890/91, but then he persuaded Warren P. Laird to move to Philadelphia in order to assume the headship. Chandler was extremely active in the general Philadelphia community as well, holding memberships in the Union League, the Philadelphia Club, the Pennsylvania Academy of the Fine Arts, and the Radnor Hunt Club. In addition he was a member of the Society of Mayflower Descendants and the Sons of the Revolution.
Chapel of the M. E. Home for the aged of Philadelphia
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.
Characters and Traits of Mrs. Lydia Coggins by Dr. Gore
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
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.
Charlotte Bonaparte (1802 – 1839) was the daughter of Joseph Bonaparte and the niece of Napoleon. Raised in France, Charlotte joined her father in 1821 at his New Jersey Estate, Point Breeze, and remained there until 1824. This portrait of Charlotte is attributed to painter Charles B. Lawrence.
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.
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)
Small oval portrait of Madame Chastelain, mother-in-law of Eliza Fremineau Chastelain (1977.05.03). Waist view, seated in chair draped with multi-colored cloth. Hair is parted with curls at sides. Wears untied yellow bonnet, long sleeved blue dress with lace collar and cuffs, and bow on bodice, black lace mitts, and brooch at collar. Vertical architectural molding on wall in left 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, 1977.05.03-04)
Leloir, Heloise (nee Colin) (b. 1820 Paris - d. 1873 Paris)
Chestnut St section main floor, The Wanamaker Store
Chestnut Street and Benjamin Franklin Hotel
Chestnut Street looking west from 9th St
Child in crib and young girl sitting on floor near heater
Child pouring liquid from a bottle into a glass/Two people playing leapfrog
Church Linens: A Guide for Altar Societies.
Circular ivory box with miniature portrait of Napoleon I inset in lid, held in place by tooled brass and glass cover; French, 19th century.
Circulation Manager's Office, The Curtis Publishing Company
Civil war (?) battle scene with men on horseback
Class Song (high school reunion program)
Clover Club banquet Hall, Hotel Stratford
Coats of arms of cities and countries of the world