Editor's note: The following essay was published on June 28, 2007 in Resource Library with permission of the authors and Westmoreland Museum of Art. It was written concerning an exhibit titled Made in Pennsylvania: A Folk Art Tradition, organized by the Westmoreland Museum of American Art with four guest curators, on view at the Museum from June 23 - October 14, 2007. If you have questions or comments regarding the essay please contact the Westmoreland Museum of American Art directly through either this phone number or web address:

 

Pennsylvania Fraktur

by R. David Brocklebank and Barbara L. Jones

 

The term fraktur is used today to describe a wide variety of Pennsylvania German folk-art documents. In this particular incarnation, embellishment "beyond necessity" seems to be an adequate definition of folk art. The word fraktur, which means "fractured" or "broken apart," has its origin in the presentation of text in discrete letters as opposed to a cursive hand. In the late eighteenth and early nineteenth centuries, the vast influx of immigrants from what is now Germany and Switzerland brought the tradition to Pennsylvania, where it underwent considerable evolution. Schoolteachers in the rural areas made a very large percentage of the fraktur that survives today.

The most prevalent form of fraktur consists of birth and baptismal records (geburts und taufschein -- often simply referred to as taufschein) -- essentially serious religious pieces with colorful, exuberant additions to delight the eye. House blessings (haus segen), writing examples (vorschriften), and narratives (such as the parable of the prodigal son) are also included among the many varieties of fraktur that one encounters in Pennsylvania. Typically created with ink and watercolor on paper, most of these documents are approximately thirteen by sixteen inches.

 

WESTMORELAND COUNTY FRAKTUR

The Westmoreland County fraktur exhibition is presented in eleven groups, with the artists' works displayed in the order of the artists' active periods. Of those from Westmoreland County, eight artists are known by name and one maker is identified by style. Prior to the publication of Lynn A. Brocklebank's article on Westmoreland County fraktur in the Magazine Antiques in 1986, only three documents had been recorded in the literature. The present exhibit is the first comprehensive display of Westmoreland County fraktur. The examples were chosen to display the variety of fraktur produced by each artist, while favoring both works in English-in order to make the content more accessible-and those with family names that are, to this day, common in Westmoreland County. Over two hundred Westmoreland examples from over one hundred sources have been examined and photographed.

Johann Carl Scheibeler (active in Westmoreland County 1784-1793): Scheibeler, a schoolteacher, was the earliest maker of fraktur in Westmoreland County and was active elsewhere at least as early as 1769, as the New Year's Greeting in this exhibit attests. A taufschein for a birth in 1749 suggests that an earlier date is possible. Although active in other areas, the evidence for his local activity rests on the fact that the baptismal records for Harrold Church (3 miles southwest of Greensburg) from 1784 to 1793 are in his hand. The 1797 New Year's Greeting was found in the state of New York. His work is of uniform high quality. His more elaborate pieces have semicircular border designs and contain such exhortations as "love humility"; "talk little, listen much"; and "prepare for patient endurance and you will indeed inherit heaven."

W. Loos (active 1800?-1820): Loos's work indicates that he was active during the first twenty years of the nineteenth century. Formerly referred to as the "Sober" artist, his identification hinged on the single signed example included in this exhibit. The considerable variety and skill apparent in his early Westmoreland County work suggests that earlier examples may be found elsewhere. Loos occasionally included people in his work.

Johann Andreas von Alms (active 1817-1819): Alms, a schoolteacher and lay preacher, was an early maker of interesting fraktur. Twenty years of searching has failed to add to the three pieces that were known when Brocklebank's article was published in 1986. All three are in the present exhibit.

"Bonnett artist" (active c. 1800?): A single example of this artist's work is known. It is positioned in the gallery to invite one to compare its graceful tulips with the inlaid tulips of similar form that are found on several blanket chests of Westmoreland County origin.

Johann Georg Busyaeger (active 1805-1841): Here we have, by far, the most prolific fraktur artist in the county. During his thirty plus years of work, this schoolteacher created at least 35 percent of the local fraktur. Rarely did he depart from his design in horizontal format, depicting flowers in the upper corners and three tulips across the bottom. On those scarce departures, he produced marriage commemorations, spiritual clocks, and at least one Letter from Heaven. His very early pieces are in a smaller horizontal format. Virtually all of his fraktur are signed and dated.

Henry Haines (active c. 1850): Haines was a maker of gravestones, and one can find stones inscribed "HH" in Hempfield Township. Some of his stonework suggests a familiarity with fraktur motifs. His work is not as rare as the single example shown here might suggest.

Georg Gottfried Ephraim Burger (active 1820?-1846): Burger's fraktur (rarely signed) are often confused with those made by Busyaeger. Burger's work is usually more detailed and generally displays a more intense palette. Included here is an outstanding example that he made for one of his daughters. He was fond of "two angel" designs and, on occasion, could produce a piece with the appeal of the taufschein, featuring the two facing birds. He rarely departed from a vertical format.

Friederich Hagemeister (active late 1820s): Hagemeister's work-a few examples of which are signed and dated-is almost always in German and in a horizontal format. His work features stylish vines and tulips, and some examples are heavily stippled. Very little is known about him beyond the fact that he was married and apparently died in poverty in the late 1830s. It is possible that he was a schoolteacher.

Thomas Johnston (active late 1860s-early 1870s): The last of Westmoreland County's fraktur artists, Johnston's work reaches well into the 1870s. He made liberal use of stencils to picture buildings, trees, and monuments. His identity as a teacher rests on his award to Elisabeth Baker for her excellence in orthography.

 

This group of fraktur consists of examples from the nearby counties of Washington, Somerset, Bedford, Allegheny, Fayette, and Indiana.

Johannes Armbrust: A printer in Greensburg in the early 1800s, Armbrust produced at least two types of birth and baptismal certificates, which for the most part document births outside of Westmoreland County.

"Bowman Artist": This artist is known only by the single fraktur for Lovine Bowman. This lone example is housed in a decorated dated frame with her name, most likely made by Somerset craftsman Jacob Knagy at the time of her confirmation.

"Brothers Valley Artist": This artist is named for a small group of fraktur produced for individuals living primarily in the Brothers Valley area of Somerset County. It appears that this artist had been active in Northampton County.

"Shallenberger Artist": This single example for Sahra Shallenberger is the only known Fayette County fraktur. This rather accomplished piece was found well over twenty years ago, but a second example by this maker has yet to surface.

Frederick Goeb: An early printer in both Bedford and Somerset counties, Goeb is best known for producing the first bible printed west of the Susquehanna. Examples exist of both colored and uncolored fraktur, representing births in both Somerset and Westmoreland counties.

"Lehnhard Artist": Although numerous examples of printed fraktur documenting Allegheny County births and baptisms have been found, this hand-drawn example stands alone.

"Basore Artist": A late Family Record was made for the Basores of Bedford County, displayed in its original painted frame. The origins of this difficult "font" are unknown.

Margaret Eve Wolf: From the Brush Valley area of Indiana County, this painting was accompanied by a poem by the maker and the family record pages from a bible.

 

The second section of the exhibition features thirty-five fraktur that represent counties in central and eastern Pennsylvania created by such artists as:

Johann Heinrich Otto (active 1762 - 1797) was a recognized master of parrot motifs, abundant floral designs, and crowns of righteousness, and provided a wealth of material for other fraktur artists (cat. x).

Daniel Otto (active 1792 - 1822), formerly known as the flat tulip, artist was Heinrich Otto's youngest son (cat. x, x, x).

Johannes Ernst Spangenberg (active 1774 - 1812) was a schoolmaster who also served in the Northampton County militia during the Revolutionary War. Colorful musicians marching across the bottom edge of his fraktur are typical feature of his designs (cat. x, x).

Johann Conrad Trevits (active 1775 - 1825) worked as a schoolmaster in Berks, Centre, Dauphin, Lebanon, and Northumberland counties, and also served in the Revolutionary War. His most recognizable motif is the open-ended heart and pear-shaped flower, with birds usually nibbling on the foliage, often craning their necks to reach it. He is known to have used a compass to create his heart shapes, and you can see examples where the circle was too large and he had to adapt his line to complete the shape (cat. x, x, x, x).

Johann Conrad Gilbert (active 1775 - 1810), also a schoolmaster, derived some of his design elements, including the barefoot angels, from fellow fraktur artist Daniel Schumacher (cat. x, x). Heinrich Otto can also be seen as an influence on Gilbert, especially his use of long-necked birds and parrots (cat. x).

Henry Young (active 1817 - 1861) created stylistically identifiable fraktur designs using thirteen different formulas. The exhibition contains six of his thirteen types and in all but one, the women share similar attributes with their hair arranged high on their head wearing an empire-waist dress, while the men wear colorful waistcoats and tailcoats. All stand on a patch of green grass. Other motifs that identify Young's fraktur include an eight-sided star, tripod table, stylized birds, and large roses with leaves (cat. x, x, x, x, x, x).

 

About the authors

R. David Brocklebank (Ligonier, PA), who has focused on western Pennsylvania fraktur for 35 years, is the guest curator for this category. Brocklebank and curator Barbara L. Jones selected eighty fraktur from two important private collections in Pennsylvania. One collection includes forty examples by nine Westmoreland County artists working from 1788 to the 1870s. The other consists of fraktur from eastern Pennsylvania, including Center, Bucks, Dauphin, Schuylkill, and Lycoming Counties. The Westmoreland brings selections from these two outstanding collections together for the first time to share with our visitors.

 

About the exhibition

Made in Pennsylvania: A Folk Art Tradition, organized by the Westmoreland Museum of American Art with four guest curators, will be on view at the Museum from June 23 - October 14, 2007. This exhibition presents important examples of fraktur, salt-glazed stoneware, tanware, textiles, and painted furniture, most originating in western Pennsylvania.

Made in Pennsylvania brings together for the first time almost 400 significant examples of folk art that will enable comparisons of style, maker and region. These objects come from both public and private collections, in addition to the Museum's own collection. 

 

(above: Johann Karl Scheibeler (active 1769-1798), 1797 New Years Greeting, Signed "Written by me Karl Scheibeler", Ink and watercolor on paper. Private collection. Photography: Mark May Photography. The other known example (dated 1798) is in the Collection of The Free Library of Philadelphia.

Scheibeler, a schoolteacher, was the earliest maker of fraktur in Westmoreland County and was active elsewhere at least as early as 1769, as the New Year's Greeting in this exhibit attests. A taufschein for a birth in 1749 suggests that an earlier date is possible. Although active in other areas, the evidence for his local activity rests on the fact that the baptismal records for Harrold Church (3 miles southwest of Greensburg) from 1784 to 1793 are in his hand. The 1797 New Year's Greeting was found in the state of New York. His work is of uniform high quality. His more elaborate pieces have semicircular border designs and contain such exhortations as "love humility"; "talk little, listen much"; and "prepare for patient endurance and you will indeed inherit heaven.")

 

(above: Georg Gottfried Ephraim Burger, Attributed (1790-1861) (active 1820-1846), Birth and Baptism Certificate made for Margaretha Burger, Born March 27, 1838; Baptized April 29, 1838, Ink and watercolor on paper. Private Collection. Photography: Mark May Photography

Burger's fraktur (rarely signed) are often confused with those made by Busyaeger. Burger's work is usually more detailed and generally displays a more intense palette. Included here is an outstanding example that he made for one of his daughters. He was fond of "two angel" designs and, on occasion, could produce a piece with the appeal of the taufschein, featuring the two facing birds. He rarely departed from a vertical format.)

 

(above: John George Busyaeger (active 1809-1841), John George Busyaeger (1774-1843) (active 1809-1841), Birth and Baptism Certificate for Elisabeth Barbara Wagner, Born April 18, 1855; Baptized May 18, 1855; Signed and dated "Made by J.G. Bushyaeger 1841", Ink and watercolor on paper. Private Collection. Photography: Mark May Photography. Note the fourteen-year lapse from the date that the fraktur was made to the date when it was filled in! This fraktur is typical of Busyaeger's later work.

Busyaeger was, by far, the most prolific fraktur artist in the county. During his thirty plus years of work, this schoolteacher created at least 35 percent of the local fraktur. Rarely did he depart from his design in horizontal format, depicting flowers in the upper corners and three tulips across the bottom. On those scarce departures, he produced marriage commemorations, spiritual clocks, and at least one Letter from Heaven. His very early pieces are in a smaller horizontal format. Virtually all of his fraktur are signed and dated.)

 

(above: Busyaeger fraktur above was wrapped around this doll. Private collection. Photography: Mark May Photography)

 

(above: Johann Karl Scheibeler (active 1769-1798), Birth and Baptism Certificate made for Jacob Kuntz, Son of Johannes Kuntz (a tanner) and his wife Elisabetha (Marchand), Born February 7, 1788; Baptized April 27, 1788, signed and dated: "Karl Scheibeler Schoolmaster Hempfield Township Westmoreland County 1789", Ink and watercolor on paper, 16 _ x 12 _ . Collection: The Westmoreland Museum of American Art. Gift of the Mary Marchand Woods Estate, 1960.533. Photography: Mark May Photography)

 

(above: Henry Young (active 1817-1861), Taufschein made for Elizabeth Fluch, 1821, Ink and watercolor on paper, 10 7/8 x 7 _ inches. Private collection. Photography: Will Brown

Henry Young created stylistically identifiable fraktur designs using thirteen different formulas. The exhibition contains six of his thirteen types and in all but one, the women share similar attributes with their hair arranged high on their head wearing an empire-waist dress, while the men wear colorful waistcoats and tailcoats. All stand on a patch of green grass. Other motifs that identify Young's fraktur include an eight-sided star, tripod table, stylized birds, and large roses with leaves.)

 

(above: Johann Conrad Trevits (active 1775-1825), Taufschein made for Catharina Carnenein, 1793, Ink and watercolor on paper , 12 7/8 x 16 _ inches. Private collection. Photography: Will Brown

Johann Conrad Trevits worked as a schoolmaster in Berks, Centre, Dauphin, Lebanon, and Northumberland counties, and also served in the Revolutionary War. His most recognizable motif is the open-ended heart and pear-shaped flower, with birds usually nibbling on the foliage, often craning their necks to reach it. He is known to have used a compass to create his heart shapes, and you can see examples where the circle was too large and he had to adapt his line to complete the shape.)

 

(above: Daniel Otto (active 1792-1822), Taufschein made for Jacob Brunngart, 1814, Ink and watercolor on paper , 13 x 16 inches. Private collection. Photography: Will Brown)

 

(above: Johannes Ernst Spangenberg (active 1774-1812), Taufschein made for Elizabeth Reimer, 1792, Ink and watercolor on paper, 12 7/8 x 16 inches. Private collection. Photography: Will Brown

Johannes Ernst Spangenberg was a schoolmaster who also served in the Northampton County militia during the Revolutionary War. Colorful musicians marching across the bottom edge of his fraktur are typical feature of his designs.)

 

Catalog

An 80-page catalog accompanies the exhibition with color photographs of all objects as well as a short introduction/overview of each object category. Contributors are the guest curators and Phil Schaltenbrand, author of Big Ware Turners: The History and Manufacture of Pennsylvania Stoneware on salt-glazed stoneware. The soft cover catalog is available at An American Marketplace ­ The Shop at The Westmoreland, online at www.wmuseumaa.org or by calling 724-837-1500 ext. 41.

 

Resource Library editor's note:

The above essay was published on June 28, 2007 in Resource Library with permission of the authors and Westmoreland Museum of Art. It was written concerning an exhibit titled Made in Pennsylvania: A Folk Art Tradition, organized by the Westmoreland Museum of American Art with four guest curators, on view at the Museum from June 23 - October 14, 2007. If you have questions or comments regarding the essay please contact the Westmoreland Museum of American Art directly through either this phone number or web address:

Resource Library wishes to extend appreciation to Judy Linsz Ross, Director of Marketing/Visitor Services, Westmoreland Museum of Art, for help concerning permission for reprinting the above text

 

Read more articles and essays concerning this institutional source by visiting the sub-index page for the Westmoreland Museum of American Art in Resource Library.

Visit the Table of Contents for Resource Library.for thousands of articles and essays on American art.

Copyright 2007 Traditional Fine Arts Organization, Inc., an Arizona nonprofit corporation. All rights reserved.