Gold Certificates Value

Gold Certificates Value. Black Hills Gold Wedding Ring

Gold Certificates Value

gold certificates value

    gold certificates

  • A gold certificate in general is a certificate of ownership that gold owners hold instead of storing the actual gold. It has both a historic meaning as a US paper currency (1882–1933) and a current meaning as a way to invest in gold.
  • (Gold Certificate) U.S. paper money issued from the 1860s to the 1930s, exchangeable at par with current gold coins.
  • (gold certificate) A form of U.S. paper money once redeemable in gold coin. Temporarily made illegal for most to hold between 1933 and 1964.

Osborne Theomun Olsen (1883-1971) death certificate.

Osborne Theomun Olsen (1883-1971) death certificate.
Osborne Theomun Olsen (1883-1971) aka Asbjorn T. Olsen, aka Ozzie Olsen; Owner of Osborne Art Studios in Chicago which existed from 1910 to 1973 (b. June 09, 1883, Chicago, Cook County, Illinois, USA – d. January 09, 1971, Chicago, Cook County, Illinois, 60631, USA) Social Security Number 327304556.

Name:
His name was originally thought to be "Osborne Titaman Olsen" by the family. It was written in the World War I draft registration as "Osborne Theomun Olsen". This was discovered in 2006.

Birth:
Osborne was the third child of Anne Marie Jensen (1854-c1895) and Peter Olsen (1844-1892) and his birth name was "Asbjorn Olsen". His birth certificate incorrectly lists him as "Oscar Olson". His parents were listed as "Annie Jenshon Olson", age 29, and "Peter Olson", age 39, of Farsund, Norway.

Siblings:
His siblings include: Jennie Olsen (1881-?) who married a Henning and may have been buried in Mount Olive Cemetery; Perry Maranius Olsen (1885-1971) who died in Oakland, California; and Harriet Olsen (1889-?).

Orphaned:
Osborne’s parents were already dead by the year 1900, his father died on August 24, 1892. In the 1900 Census he was living in the home of his aunt: Katrine Jensen (1857-1912) who married Steffen Barca (1855-?).

Marriage:
He married Augusta Schmidt (1883-1974) aka Gussie Schmidt on June 03, 1905 in Chicago.

Children:
Together they had the following children: Perry Olsen (1907-1974) who married Lavina Minnie Price (1909-1989); and Evelyn Olsen (1909-2002) who married Wilbur Lamond (1912-1983).

Chicago:
In the 1910 Census he listed himself as "working on his own account" under the name "Asbjorn T. Olsen". In 1914-1917 he appeared in the Chicago City Directory working at 2520 North Milwaukee Avenue and living at 6933 Overhill Avenue. He listed his occupation as "artist". In 1920 he appeared in the US Census living at 6933 Overhill Avenue in Chicago. In the 1922 Chicago City Directory he listed two addresses for his Studio. Osborne appeared on the 1930 US Census living at 6935 Overhill Avenue in Chicago and working at his ceramic studio. He died on January 10, 1971 and his widow, Augusta; and his son, Perry continued the business until 1973.

Osborne Art Studio:
Osborne owned Osborne Art Studio in Chicago where he decorated ceramics and added gold and platinum trim. In 1910 he appeared in the Chicago City Directory living at "3025 George" and he listed his occupation as "decorator".

World War I:
He registered for the draft on September 18, 1918 under the name "Osborne Theomun Olsen". He listed his job as "china painting" at 2520 North Milwaukee Avenue. He had blue eyes and brown hair, and did not serve in World War I.

Death:
Osborne died in 1971 and his obituary appeared in the Chicago Tribune on January 11, 1971 and read as follows: "Osborne T. Olsen beloved husband of Augusta, nee Smith, fond father of Perry [Lavina] Olsen, Evelyn [Wilbur] Lamond; five grandchildren; 12 great-grandchildren. Funeral Tuesday, 1:30 p.m. at the M.J. Suerth Funeral Home, 6754 Northwest Highway. Interment Acacia Park."

Legacy:
Many of his pieces are extant and archived with family members. A large collection belongs to the descendents of Arthur Bruce Jensen I (1888-1975) aka Jens Arthur Jensen who was the sales manager for Osborne Studios before World War I.

Helaine Fendelman and Joe Rosson write the following for the Scripps Howard News Service: "Osborne Art Studios, which was founded in Chicago, Illinois, in 1910 by Osborne T. Olsen. At that time there were a number of companies decorating white china ‘blanks’ (e.g. pieces that are undecorated and therefore ‘blank’) in Chicago. The most famous of these was and is the Pickard China Company, whose work is highly prized by current collectors and can be very expensive. There is no question that Osborne did beautiful work, but he is often accused of being a Pickard copyist, and this tends to hurt the value of many Osborne pieces. It should also be noted that Osborne did not always use a backstamp on his pieces, and since they look so much like Pickard’s work, this has caused much confusion among those who are interested in this type of ware."

Selma Freudenberg (1921- ) remembered: "When I was little I visited Chicago with my uncle, Otto Winblad, and we stayed with a family and I thought they were related to us. They gave me a gold salt and pepper shaker that I still have, I may have been 8 or 9 and the year may have been 1929. He worked with gold, putting it on ceramic pieces. One of the people there was Lief Jensen."

Norma Theda Olson (1935- ) said: "There was a person in the family that owned a china shop on the North West Highway in Chicago. He sold fancy plates. I lived at Nagle Avenue after I got married and that was near the North West Highway. My mother and I walked over there one day and the man

Fort Langley Community Hall – 1931

Fort Langley Community Hall - 1931
9167 Glover Road, Langley, BC.

Description of Historic Place:

Fort Langley Community Hall is a large, classic revival building set back on a spacious property on Fort Langley’s main street, Glover Road.

Heritage Value:

Fort Langley played a pivotal role in the creation of British Columbia. It was the first permanent European settlement in the Fraser Valley, the site of the proclamation of the Crown Colony of British Columbia and the first major commercial agricultural centre in B.C. The Hudson’s Bay Company used the fur trade fort based here for exporting Fraser River salmon as well as agricultural products and furs to Europe and to Pacific Rim countries. In 1858, when gold was discovered on the bars of the Fraser River, the influx of prospectors caused fears of American annexation, and directly led to Britain proclaiming a Crown Colony under the direction of Governor James Douglas. The fort and the Village that grew up adjacent to it are now part of the Township of Langley.

Designed by a prominent Vancouver architect, Archibald Campbell Hope, and constructed in 1931, Fort Langley Community Hall is recognized for its landmark status as well as its historic, social and aesthetic significance to the Township.

A.C. Hope and his wife Mary came to Vancouver in 1908 from England and via a two year stay in San Francisco, where he obtained his architect’s certificate. Primarily known for designing schools in Vancouver, Hope is also known for designing municipal halls and is best known for his design of Heritage Hall (formerly Postal Station C) at Main and 15th in Vancouver.

Hope likely received the commission to design Fort Langley Community Hall through his brother, Charles, who was a long time and prominent resident in Fort Langley. Built by volunteers for the Fort Langley Community Improvement Society, the Hall has played an important role in the community’s life by faithfully providing a place to meet and hold functions that encourage a strong and vital community life.

Through volunteer commitment, the Hall has and continues to accommodate a variety of social, athletic, public and business events. The sustained use of the Hall shows the enduring dedication and enthusiasm of both the community and the Fort Langley Community Improvement Society (which has always owned and operated the building). To the residents of Fort Langley, this continuity of function is an important part of their civic pride.

Noteworthy for its time when men tended to dominate civic life, the Association’s first president was Mrs. Hector Morrison, a woman of dedication who was also the president of the Fort Langley Women’s Institute. Women have continued to play strong lead roles in the management of the Hall, in both its programming and its conservation.

The Hall is a fine and rare example of a wooden classic revival building in the Fraser Valley. The formality of the Hall is emphasized by its placement at the rear and centre of a large, open property, and by the requirement to approach the entrance via a sweeping drive. At the same time, the Hall also appears gracious and welcoming, due primarily to its symmetry, its celebration of approach and entry from Glover Road, and its sense of old world charm.

The row of large, deciduous Maple trees on each of the north and south property lines are also important as they offer a direct historic and symbolic link to the original directors of the Society, who planted these trees in celebration of the Hall’s construction.

Together with the Coronation Block and the Canadian Northern Railway Station, the Fort Langley Community Hall played an important role in focussing the community on heritage conservation issues. Its imposing and uniquely grand design helped create the public and political will to ensure the success of Langley’s first Heritage Conservation Area, which was established in 1997 and includes a 9 square block area of the Village of Fort Langley.

Source: Langley Centennial Museum, heritage files

Character-Defining Elements:

Key elements that define the heritage character of this site include:

– The physical location of the building at the centre of the village;
– The extent and layout of the grounds with spacious grassed areas divided by a curving drive, which establishes a formal orientation of the Hall to Glover Road;
– The row of deciduous Maple trees on both the north and south property lines, which create a natural division between the site and neighbouring properties;
– Unaltered spatial orientation of the main, formal entryway facing Glover Road;
– Symmetry of front facade;
– Grandeur and formality of exterior detailing using local wood building materials;
– Original interior features such as the proscenium arch and the dance floor on the second floor;
– Original colour scheme;
– The choice of classic revival for the design of the building and which include such elements as:
– Wood pilasters and engaged Doric columns of front facade,
– Concrete plinths,
– Moulde

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