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                <text>Camus Napoleon Cognac</text>
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                <text>A small green porcelain cup bearing the likeness of Napoleon</text>
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            <name>Identifier</name>
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                <text>A small green porcelain cup bearing the likeness of Josephine</text>
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            <name>Identifier</name>
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                <text>2012.48.26</text>
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                <text>Gift of Clifford J. Brooks</text>
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                <text>Porcelain plate with green and gold border with an image of Josephine in the center. </text>
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                  <text>Portraits and Paintings</text>
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                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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                <text>Cret, Paul Philippe (1876-1945)</text>
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                <text>2013.38.01</text>
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                <text>Elliott, Arthur, from the original by Adolphe Borie (1914)</text>
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                <text>Oil on canvas; gilt frame</text>
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                <text>Gift of Barry Eiswerth, Thomas Piatrowski, Mikaylo Kulynych, Douglas Steele.</text>
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                <text>One of the most influential forces in Philadelphia architecture during the early part of the twentieth century, Paul P. Cret was born in Lyons, France. He first studied at the Ecole des Beaux-Arts of Lyons; and there won the Paris Prize, which enabled him to move to Paris and attend the Ecole there as well as become a member of the Atelier supervised by Pascal. In 1903 when many schools of architecture in the United States were importing teachers from the Ecole, Cret was persuaded to move to Philadelphia and become a Professor of Design at the University of Pennsylvania, arriving in August 1903. Throughout his 34 year tenure, Cret trained many of the students graduating from the University's Department of Architecture and acted as patron of the T-Square Club Atelier; the Beaux-Arts stamp could be seen on the work of those students long after they had graduated and dispersed to various parts of the world. </text>
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                <text>In 1907 Cret, in partnership with Philadelphian Albert Kelsey, won the first of many national architectural competitions which he would enter, the design of the International Bureau of American Republics in Washington, DC (the Pan American Union). Before the first World War interrupted his career, Cret would participate in several other competitions, including the Robert Fulton Memorial Competition (1909: Third Place), the Perry Memorial Competition (1911: Third Place), and the Indianapolis Public Library (1914: First place, with Zantzinger, Borie &amp; Medary). </text>
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                <text>Cret was in France when World War I broke out, and he simply remained there in the army for the next five years, returning to Philadelphia when he was discharged. At the end of his time in the service, Mrs. Theodore Roosevelt asked him to design a memorial to her son, Quentin, who had been killed in the War. This was designed in 1919 for a site at Chamery, France. For his work during the war, Cret was awarded the Croix de Guerre and made an officer in the Legion of Honor. </text>
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                <text>A great number of awards came to Cret in recognition of his contributions to city planning, American architecture, and architectural education. These included the Bok Award (1931), the Gold Medal of the American Institute of Architects (1938), the medal of honor of the Architectural League of New York (1920), the Paris Grand Prix, the Prize of Honor at the 5th Pan American Congress of Architects at Montevideo (with Zantzinger, Borie &amp; Medary), and the Award of Merit of the Pennsylvania Alumni Society. He received honorary degrees from Brown University (Master of Arts, 1929), the University of Pennsylvania (1913), and Harvard University (1940). In addition to his architectural design and city planning work Cret published several articles which described the Beaux-Arts method and reacted to the modernist principles of design.</text>
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                <text>Gift of Deana Pitcairn Duncan    </text>
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                <text>Bronze paperweight sculpture in the shape of Napoleon's head with a laurel leaf wreath. </text>
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                <text>Gift of Hyman Myers, FAIA and Sandra K. Myers</text>
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                <text>2016.06.41</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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                <text>Inman, Henry (attributed).   Alternate attribution: Jacob Eichholtz.</text>
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                <text>Born in the autumn of 1798, the younger of two daughters, Jane Caroline Armat was raised in the newly built family home of Loudon in Germantown, Philadelphia. By the age of 11, Jane and her sister Sara were left solely in the care of their grandparents following the death of their mother and father within just three years of each other.</text>
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                  <text>The Bonaparte Collection contains items related to Napoleon, Joseph, Charlotte and other members of the Bonaparte Family.  It also includes Bonaparte souvenirs, and decorative items that may be described as  "French Philadelphia" or from the Napoleonic Era.</text>
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                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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Artist Lois Harper Wyman, a descendant of William Strickland, painted this portrait of her ancestor in 1952, copying from an original portrait by an unknown artist. </text>
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                <text>Gift of Melanie Richardson, in memory of Cynthia Wyman Richardson</text>
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&#13;
Throughout his career, Biddle often took respite at his country residence known as Andalusia.  In 1811 Biddle had married Jane Craig, and in 1814 obtained her parents’ large house located 14 miles north of Philadelphia overlooking the Delaware River. He commissioned architect Thomas Ustick Walter (who had designed Girard College) to transform the existing Craig house into a Greek Revival masterpiece. Biddle applied his lifelong interest in the arts, architecture, and experimental agriculture to develop the home and gardens into a stately and serene estate.   Today, Andalusia is a National Historic Landmark open to visitors.&#13;
&#13;
Nicholas Biddle died at Andalusia in 1844 at the age of 58.&#13;
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In 1800, Dr. Mease married Sarah Butler, the daughter of South Carolina Senator Pierce Butler. They had two sons who later changed their last names from Mease to Butler as a prerequisite for inheriting their grandfather Senator Butler’s vast fortune.  One of the sons, Pierce Butler, married the renowned English stage actress Fanny Kemble.&#13;
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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.   &#13;
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Additional sculptures relating to Napoleon Bonaparte and his family may be viewed online in the Athenaeum's Featured Collection, "Bonaparte Collection." </text>
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            <name>Identifier</name>
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            <name>Rights</name>
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                <text>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. </text>
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                <text>Gift of Chantal Westby</text>
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        <name>Napoleon Bonaparte (Napoleon I)</name>
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                  <text>The Bonaparte Collection contains items related to Napoleon, Joseph, Charlotte and other members of the Bonaparte Family.  It also includes Bonaparte souvenirs, and decorative items that may be described as  "French Philadelphia" or from the Napoleonic Era.</text>
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                <text>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.  </text>
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            <name>Provenance</name>
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                <text>Gift of Sheila Brown</text>
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                <text>Bonaparte Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>2020.24.01 </text>
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        <name>Josephine de Beauharnais</name>
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                <text>Tin Sign: American Institute of Architects, Philadelphia Chapter, Upper Floor</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>The Philadelphia Chapter AIA occupied the 3rd Floor East Room of the Athenaeum.</text>
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            <name>Identifier</name>
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                <text>2021.13.01</text>
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              <name>Creator</name>
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                  <text>1814-Present</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Tin Sign: Philadelphia Chapter AIA, Upper Floor</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>The Philadelphia Chapter AIA occupied the 3rd Floor East Room of the Athenaeum.</text>
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            <name>Identifier</name>
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                <text>2021.14.01</text>
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                <text>7" H X 17" W</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Athenaeum Archives</text>
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                  <text>1814-Present</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Wooden Sign: The Athenaeum, Second Floor</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>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.</text>
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            <name>Identifier</name>
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                <text>2021.15.01</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Athenaeum Archives</text>
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              <name>Creator</name>
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                  <text>The Athenaeum of Philadelphia</text>
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              <name>Date</name>
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                <text>Athenaeum Transom Window</text>
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&#13;
                    ATHENAEUM&#13;
                          219&#13;
&#13;
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            <name>Identifier</name>
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                <text>2021.37.01</text>
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  <item itemId="2274" public="1" featured="0">
    <collection collectionId="7">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="42842">
                  <text>Robert L. M. Camden Collection</text>
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              <description>An account of the resource</description>
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                  <text>The Camden Collection consists of the artwork and personal materials of artist and graphic designer Robert L. M. Camden (1855-1922).  It includes drawings, prints,  photographs, and manuscripts.  Examples of his work include cigar box designs, notepad covers, lettering and company logos.  For most of his career, Camden worked as a solo artist and illustrator based in Philadelphia.  In 1887, he briefly partnered with René Théophile de Quélin as "Camden &amp; Quelin Artists, Designers &amp; Illustrators."</text>
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            <name>Identifier</name>
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                <text>219-AL-001</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Postage paid stamps attached to a spiral bound notebook page </text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>scrapbook</text>
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            <name>Is Part Of</name>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>http://www.philaathenaeum.org/rights.html</text>
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