These doors once defined the entry of the First National Bank building built in 1906 on 10th and Baltimore streets and what is now home to the Central Branch of the Kansas City Public Library. Local architects Wilder and Wight designed the building in a neo-classical style with heavy stone masonry and frontal colonnade that complemented the ornate bronze doors. At just over seven feet in height, the doors disguise their weight with intricate design and open space that allow one to essentially see through their structure.
The artist truly captured the romanticism and vigor of the moment with a stylistic prowess. This scene captures an archer on horseback, richly costumed, wearing a long robed coat, and fur lined hat. The figure holds himself nobly, leaning slightly forward with reins in one hand, controlling his mount masterfully, and casually resting his other hand on his hip while grasping his bow. The artist made a great effort to reflect the armory of the horseman, including finely detailed quivered arrows, and a sheathed sword.
To commemorate the 50th anniversary of the Presidential Libraries Act of 1955, the Postal Service honored presidential libraries and their place in American history with this stamp issuance. Presidential libraries are established in the home state of each president after he or she leaves office. The Postal Service has chosen the Seal of the President of the United States to feature on the Presidential Libraries stamp.
As documented in the historical account from the Missouri Valley Special Collections at the Kansas City Public Library, The town of Westport, in 1838, stood near the western edge of the American frontier and served as a disembarking point for traders following the Santa Fe Trail to present-day New Mexico, then a part of Mexico. To reach Westport from the east, traders traveled by river to a natural rock landing near the junction of the Kansas and Missouri Rivers and then trekked four miles south to Westport. This is an original 1885 map of Westport Missouri, by Charles C. Spalding, C.E.
As described on the KCPL website, "Courtney S. Turner was an Atchison businessman and philanthropist. Before he died in 1986, he pledged to use his financial resources to help Atchison and other communities, and the Courtney S. Turner Charitable Trust was established. In the recent past, the trust has benefited Veterans Memorial Park in Atchison, Northeast Kansas Technical College, the Atchison County Historical Society, and the Atchison Santa Fe Depot."
Col. James L. Abernathy was born in Warren County, Ohio, March 20, 1833. Abernathy was famed for his business acumen, most notably Leavenworth, KS where he moved to in the year 1856. Abernathy helped stimulate the economic growth of Leavenworth, turning it into a veritable Midwest-Boomtown of the middle nineteenth century. Abernathy, with his brother, William, began in the retail furniture business, the rudiment of which was to later to become a furniture manufacture, and this was the outset of one of the largest of Leavenworth’s industries.
Leaders in Kansas City business have been involved in their city's larger civic life since the first settlers came here in the 1820s. The first formal organization though, dates from 1856, when a small group of local businessmen established the first commercial organization of Kansas City for the purposes of general public improvement.
This grandfather clock stands at approximately six and a half feet high. It is a sleek design with black varnish and clear glass windows that reveal brushed metal mechanical elements of the weights and pendulum. The face of the clock is white and adorned with silver Arabic numerals and black accents. Howard Miller Company is a reputable clock designer who has numerous
This large textile piece exhibits a blossoming geometric pattern executed with vibrant woven yarn. Large fields of hot pink alternates with yellow and green borders that surround the repeated geometric design. The design and illumination of color work together to create an effect similar to a stained-glass window. Up close, thin black lines that separate colors within the pattern imitate the sautered lines of stained glass designs. The anticipated smoothness of the piece is pleasantly offset by the texture of the yarn itself, woven in and out of a clear plastic grid beneath.