3 American Miniature Portraits

Mundy, Ethel Frances - portrait of Archibald Graham Thompson Jr

2012-02-02T12:44:00.000-08:00

There are other miniature wax portraits by Ethel Frances Mundy in this collection, see 3 American Miniature Portraits: Mundy, Ethel Frances - portrait of ... for examples, where there is also information about the artist.

This one is 140mm (six inches) in diameter. It is inscribed "A Portrait of Archibald Graham Thomson Junior - MCMXV" that is 1915, and at the bottom "Ethel Mundy fecit. While the child is wearing a dress and has bobbed hair, it is still a boy, as it was common to dress boys in this manner until they were aged two or three years old. The wax miniature corresponds with the photo of his mother with a child, which may be AGT or his half brother.

Archibald Graham Thomson Junior was born 9 Sep 1912 at Philadelphia and died on 22 Oct 2003. He was the son of Archibald G Thomson Sr (13 Sep 1869-21 Oct 1917) and Mary Lowber Welsh (8 Oct 1868?-3 Feb 1929, who were married on 29 September 1909. AGT senior was a physician in general practice and also a cricketer in the 1890's, see http://stats.thecricketer.com/Players/27/27362/27362.html AGT Sr and his father William published papers in on color blindness and other eye treatments which are described at
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1322325/pdf/taos00146-0113.pdf and at http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1322480/pdf/taos00147-0206.pdf and at http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1322450/pdf/taos00144-0235.pdf and at
http://ukpmc.ac.uk/articles/PMC1322329/reload=0;jsessionid=WR9HW7fbadnbbPuzaclz.10

The obituary of AGT Sr recorded; Archibald G. Thomson, M.D., Philadelphia ; University of
Pennsylvania, Philadelphia, 1892; aged 48; formerly a Fellow of the American Medical Association ; a member of the American Laryngological Association ; well known as an ophthalmologist; a member of the staff of University, Wills, and the Orthopedic Hospital ; died in the private hospital of Dr. Francis X. Dercum, Philadelphia, October 22, from heart disease.

The marriage of Mary to AGT was her second marriage, the first being to Thomas Brown Wanamaker who died in Paris (1862-1908) on 27 Apr 1887, son of John Wanamaker - Wikipedia, the free encyclopedia Her first wedding was a huge event in Philadelphia with 12 ushers and 12 bridesmaids.

Mary's two previous Wanamaker children were living with the Thomson family in 1910, after her second marriage to AGT. The family was wealthy as the 1910 census records a butler, a governess, a nurse, three servants and a laborer living in their house in Chestnut Avenue.If her birth year is correct, Mary would have been aged 44 when AGT Jr was born in 1912. Her second marriage was a major contrast with very few guests.

By the 1930 census AGT Jr was living with his half-brother Thomas B Wanamaker and eight servants in Radnor, Delaware. With TBW, then aged 25, declaring an annual income of $140,000 and describing himself as a merchant. AGT Jr was 17 and gave no occupation. By then both his parents had died. His half-brother, Thomas B. Wanamaker Jr. died on Feb. 23, 1991 as reported in the Princeton Alumni Weekly.
Tom came to Princeton from Ardmore, Penn. and Haverford school, and left the campus in June 1924. He led a roving life: on the Main Line outside of Philadelphia; in Pasadena, Calif.; in Hawaii; Darien, Conn.; a retirement community in Florida; and finally in Ridgefield, Conn. George Denniston describes Tom as quiet and reserved and his half-brother Archibald G. Thomson agrees. He had a deep interest in the theater and in music. A contrasting devotion was to outdoor life, and he enjoyed running his Deep Well Ranch in Palm Springs, Calif., and raising Irish wolf hounds in Pasadena. He was intensely interested in tennis, and attended the big tournaments near his residence in Florida. Always ready for adventure, Tom took WWII in stride, enlisted in the U.S. Naval Reserve, and made himself useful as a storekeeper in the South Pacific area, which, as other 1927ers know well, was anything but pacific. He was released from the service Jan. 26, 1946 with the rating of Sk 2/c. Tom, obviously a modest fellow, reported briefly for the Class TWENTY YEAR RECORD, but not for our later biographical volumes. One suspects that the reticence veils what must have been one of 1927's most adventurous and colorful lives. The Class renders thanks for information given by Tom's sister-in-law (Mrs. Rodman Wanamaker) and by his half-brother, Archibald G. Thomson.

The brothers made this gift to the Philadelphia Museum;

Costume and Textiles

Chasuble

Made in Italy

Mid- 18th century

Artist/maker unknown, Italian

Silk satin weave embroidered with silk, silver, and gilt thread in couched filling, split, outline, satin, long and short, padded satin, and couching stitches and French knots
Length x Width: 49 1/4 x 29 inches (125.1 x 73.7 cm)

Currently not on view

1942-33-12

Gift of Thomas B. Wanamaker, Jr. and Archibald G. Thomson from the Thomas B. Wanamaker Collection, 1942

They also presented to the Museum this dress. The fabric is a white silk taffeta, hand-painted with a flower, leaf, and trailing-vine pattern.1 Based on the width of the fabric, aspects of the painted design, and evidence of the painting techniques employed, we know that the fabric was woven and painted in China. The cut of the dress is typical of a later-eighteenth-century robe à la française: It has a fitted bodice with rounded neckline and short sleeves, a pleated back (not shown), and a wide skirt with an exposed underskirt. (In this image, the underskirt is not original.) The skirt opening is embellished on both sides with a length of the same fabric, box-pleated horizontally; the width of this decoration increases from the waist to the hem. The neckline is also trimmed with narrow (but vertically oriented) box pleats. These fabric insets are then trimmed with a gold-colored silk fringe, here most easily visible at the neckline.

On AGT Jr's death Sotheby's auctioned a diamond brooch. The cartouche of foliate scrolls anchored by a festoon and pairs of fringes, set with 4 old European-cut and 4 pear-shaped diamonds and with 220 smaller old European-cut diamonds, altogether weighing a total of approximately 16.50 carats, mounted in platinum. Provenance: PROPERTY FROM THE ESTATE OF ARCHIBALD G. THOMSON, WAYNE, PENNYSYLVANIA.

AGT Jr appears to have married Mary Hayes Fletcher (daughter of Charles Fletcher and Annie Hamilton Watson). She married (1) Tristram Coffin Colket (which name seems to have been carried through several generations). She married (2) Archibald Graham Thomson,Sr. and had two sons, one also called AGT Jr (III) who died on 7 Nov 2009 aged 71, and a second named Charles Fletcher Thomson. This Mary is likely the one quoted in Sports Illustrated on February 11, 1957 answering the Question: If You Saw Someone Violating The Fish And Game Laws Would You Report Him To A Game Warden?

MRS. ARCHIBALD G. THOMSON
Bryn Mawr, Pa.
Housewife
I'm tempted to say I would. But would I? I love to shoot, have gone railbird shooting and have shot pheasant and quail. I also shot grouse from Invercauld Castle in Scotland. I know how people can be tempted. I'd never violate the hunting laws, but I couldn't report others.

AGT III worked most of his career in residential real estate finishing at Prudential Roche in the Rosemont. He specialized in selling very large private houses on the Main Line. At college he was an All-New-England small college soccer player and played goalie. He had lived in the Main Line all his life. Mr. Thomson served in the National Guard and in the First Philadelphia City Troop unit. He had been a member of the Merion Cricket Club and of the Racquet Club in Phila. Always interested in hunting, he liked pheasant and grouse hunting and had also quail hunted several times at plantations in Georgia and once had driven grouse in Scotland with his father. In his later years, AGT III volunteered at local retirement homes often reading to seniors with limited sight. He liked cars and had owned many different sports cars. Always fond of dogs, he owned a series of West Highland Terriers. 1456

Unknown - portraits of a mother and daughter

2012-01-19T16:28:00.000-08:00

I find this pair of American miniature portraits fascinating! The ladies do not fall into the category of "pretty young ladies", but their relationship is a puzzle. Are they both the same person painted twice, or are they sisters, twins, or mother and daughter?

My pick is mother and daughter. The reasons for saying that are that they are both wearing the same style of clothing and their poses are identical. So were painted by the same artist at the same time, although their leather cases are a little different.

I think the lady in the orange dress is the mother and the lady in the blue dress is her daughter. Although they are wearing very similar gold brooches, their rings are different. The orange lady is sitting on a chair as a sign of age, but the blue lady appears to be standing, or sitting on a backless chair.

Their identities are unknown, as is the artist. I feel it ought to be possible to pick the artist, but I have not been able to do so, and would welcome any visitor opinions as to who painted them.

The artist is not one of the top artists of the day, but they did have a degree of skill, perhaps self taught, and it is unusual for such strong colors to be used. The lacework is also very well painted. I think the style is similar to the work of Alvan Clark, but not quite up to his quality. 1450, 1451

Dodge, John Wood - portrait of a man

2012-01-19T15:17:00.000-08:00

This American miniature portrait is an example of a mistaken purchase that was compensated by a changed attribution! It was offered as Buy It Now and described (after correcting the spelling and grammatical errors!) as;

Hand-painted in 1820-1850 portrait on ivory, with sterling silver frame. Subject is very cute young man. Magnificent quality, painting is not signed. Glass on the top is not original, frame is original by the size. Picture frame is sterling silver, not marked, 100% sterling silver guaranteed. Condition: painting is good condition, no cracks, no scratches, but a very small chip on the ivory, on the left side, very minor. Picture frame is very good condition, no restoration, no repairs.

The description was mostly accurate, except that the frame was obviously not original. The quality is clear, with a first instinct to attribute it to Nathaniel Rogers (1787-1844) who painted works of this quality but rarely signed his paintings. However, there was a niggle that perhaps it was not by him. The process of attribution being complicated by the distraction of the peculiar frame, which is at least 100 years more recent.

On arrival it was possible to take a closer look and revise the opinion to attribute it instead to John Wood Dodge (1807-1893) another prolific artist, with his account book listing over 1100 miniatures. He commenced his life in New York, but in 1841 moved to Nashville and cultivated fruit orchards, while still moving about a wider area to paint miniatures. Dodge almost invariably signed the reverse of his miniatures, usually also identifying the sitter. That was not the case here. It appearing that the original frame had been reused for something else and the backing paper removed at the same time. The nibble on the left hand side was likely original to the miniature and covered by the original frame.

Thus, although it is disappointing not to know the sitter, the miniature is by a respected artist. It can be compared with other works in the collection by John Wood Dodge; such as Eliza M Eastman see View and Reuben Kreider see View

Also of Eliza Jane Moffitt Budd see View

These three examples illustrate that he identified his sitters. That one was cracked when it was purchased was unfortunate, but it does illustrate the need to allow miniatures to shrink naturally across the grain.

In this case the original framer attached it too firmly to card, so when the miniature dried over time it split vertically. It could be reframed to close the gap, but that would mean destroying the inscription on the reverse, so it has been left as it is.

As with most artists, Dodge's style changed a little over the years, but many of his works have a shadow on the right which, because of its shape, is often referred to as his "thumbprint" shadow. The intensity of this shadow varied over his career, as with the two women showing here, but is a good clue to his works. 1452

Lemet, Louis - portrait of Col. Joseph Shippen

2012-01-10T13:33:00.000-08:00

This miniature portrait is an engraving, rather than a miniature painted on ivory. Engravings are really outside the main theme of this collection, but being an early and interesting example of an American portrait it is worthy of inclusion. The type of portrait is also called a Physionotrace and originated in France. For an interesting paper on the subject see Precursors of photography: Early Visual Media - Physionotrace ...

This example was advertised on eBay at a modest Buy It Now price of $90 as;
Offered for sale is this interesting miniature c1700s plate engraving. Piece was acquired form a Berks County, Pennsylvania estate. This shows a 1700s gentleman, in that era's attire. Looks to be of political genre. We have been unable to determine who this is. There is a description of gentleman under the engraving. However due to age and fade we are unable to fully read what it states. We also have found there to be a pencil signed name on back. But again it is extremely faded and very hard to see with the naked eye.

My reaction was immediately that it was a St Memin portrait engraving, similar to one of Christopher Grant Champlin which was acquired several years ago, see View That was not in very good condition but had represented an opportunity to include a named artist and sitter in the collection.

On arrival I looked closely at the rear of the portrait for the name, but could only make out that the second name might start Shipper..., perhaps Shipperton or Shipperman, but it could also start Chipper...

From a cursory glance the very faint engraved name under the portrait appeared to be St Memin, so I searched for the portrait in the excellent catalogue of St Memin's work by Ellen Miles. However, that was unsuccessful, so I wrote to the Smithsonian National Portrait Gallery to see if the portrait was known.

I received a very kind reply which identified the sitter, but provided a completely unexpected answer in respect of the artist!
The portrait engraving you have is actually the work of Saint-Memin's Philadelphia student/partner Louis Lemet. The sitter is Col. Joseph Shippen (1732-1810). I don't have any biographical information on him, but no doubt he is a Philadelphian, since the Shippens were a prominent Philadelphia family.

The original drawing for the portrait is owned by the American Philosophical Society in Philadelphia. They may also own an example of the engraving. I have been told that the Worcester (Massachusetts) Art Museum also has an engraving, but I can't tell from my notes if I have actually seen it! The engraving appears to be inscribed: Drawn & engrd. By L LeMet. Philada. The letters "d" of engrd and "a" at the end of Philada are both raised. There is information on Lemet in the Saint-Memin book.

Whereas St Memin is well documented, I had never heard of Louis Lemet (1779-1832) so it was interesting to find out a little about him. Around 1799 St Memin took Lemet, a French emigre as his assistant, before beginning an itinerant life. However, Lemet remained in Philadelphia until 1805, when he moved to Albany where he advertised;
Physiognotrace Likenesses Engraved. L Lemet, respectfully informs the ladies and gentlemen of Albany that he takes likenesses in crayon as large as life, and engraves them of a reduced size in a new and elegant style. The price of the large likenesses, with an engraved plate and twelve impressions, is $25 for gentlemen, and $35 for ladies, or $8 for the drawing only. For further particulars apply at his room at Capt. Lockwood's, the corner of Dock and State street, where a great number of portraits of distinguished characters may be seen.

The engraving is in a gilded frame of fairly standard design which appears to be the original frame and was presumably made by Lemet himself, as he appears to have later advertised himself as a frame maker under the name of Lewis Lemet.

He then worked at Albany NY from 1805-1828.

It appears that Lemet engravings are less common than those of St Memin, so is welcome as an example of his work.

As can be seen (or as cannot be seen!) the writing on the reverse is almost impossible to read, so I am very grateful that NPG was able to identify the sitter as Col. Joseph Shippen. He was born October 30, 1732 at Philadelphia and married Jane Galloway on 29 Sept 1768 and he died in Lancaster, Pennsylvania, February 10, 1810. They had ten children. He was the uncle of Peggy Shippen, who became the wife of Benedict Arnold. He is often described as Joseph Shippen Jr. despite his father being referred to as Edward Shippen. It is believed this was to either to distinguish between, son, father, and grandfather.
Joseph Edward Shippen (1667-1741)
(Joseph?) Edward Shippen (1701-1781)
Joseph Shippen Jr (1732-1810)
or perhaps instead to distinguish him from his uncle, "Gentleman Joe", Joseph Shippen.

The first Shippen in America was Edward Shippen, of Cheshire, England, who was persecuted in Boston for the sin of being a Quaker, and removed to Philadelphia to become its honored Mayor. It then being a habit in the Shippen family to be Mayors of Philadelphia. Living near Mr. Shippen 's fine old mansion on Orange Street, (showing here c1830 and more recently below) Christopher Marshall, who was often severe in his strictures upon the joys of life, recorded in his diary, of Sunday, July 26, 1778, a bit of pleasant sociability with Mr. Shippen, with, whom he walked home from the " Dutch Presbyterian Meeting House," where they had listened to a discourse from "one Fifer, minister of the Church of England." "Returned with Shippen," he wrote, "who pressed me to stop at his house, and drink a glass of beer of his own brewing."

A less peaceful Sunday than this of July 26th, when Mr. Marshall and Mr. Shippen drank beer of the latter's own brewing, was that Sunday in December, 1763, when Mr. Shippen (as showing here, father of the sitter), as chief burgess of Lancaster, was called out of church in consequence of a sudden foray of the Paxton boys, who suddenly appeared in the yard of the Swan Inn, as Mr. Shippen said in his report to the Governor, "upwards of a hundred armed men from the post road rode very fast into town, turned their horses into Mr. Slough '& and proceeded with the greatest precipitation to the workhouse, where they stove in the door and killed all the Indians."

The premeditated murder, in cold blood, of these captive Conestogas by men who belonged to a civilized nation has been described as one of the blackest pages in the history of Pennsylvania.

After the death of Edward Shippen, his fine old mansion on Orange Street passed into the hands of his son Edward, the Chief Justice, whose daughter Peggy was the wife of Benedict Arnold. The house was afterwards bought by Joseph Shippen, another son of Edward of Lancaster. This Joseph Shippen (the sitter), who lived for a time in the old Lancaster home, was an able man, a public-spirited citizen, a soldier and, withal, something of a gallant, as is proved by his " Lines Written in an Assembly Room," (see below)

After his death in 1810 the old home passed into the hands of Edward Shippen Burd and was later bought by the Honorable Walter Franklin, Attorney-General of the Common
wealth and an honored citizen of Lancaster. After being in the Franklin family for
twenty-six years, the Shippen House became the property of Mr. Emanuel C. Reigart. It was later demolished and the YWCA building now stands on the site.

The sitter, Joseph Shippen, Jr., graduated at Princeton in 1753, and shortly afterward entered the provincial army, in which he rose to the rank of colonel, and served in the expedition that captured Fort Du Quesne. After the troops were disbanded he went to Europe, partly on a mercantile venture, but chiefly for travel. He returned to Philadelphia in 1761, and in the following year was chosen to succeed the Reverend Richard Peters as secretary of the Province Council (1762-1776). After eleven years of strict attention he represented to the Council that "£11 a year was by no means an adequate satisfaction for his services". However, he continued to hold the post until the Revolution, when the provincial council ceased to exist. He subsequently removed to Lancaster, Pennsylvania, where in 1789 he became a judge of the Lancaster county courts (1789-1810). He was fond of the fine arts, early noted Benjamin West's genius, and, with William Allen and other friends, greatly aided him with means for pursuing his artistic studies in Italy, for which West was grateful during life. Benjamin West painted Joseph's wife, Jane Galloway in this portrait which is owned by the Historical Society of Pennsylvania, 1300 Locust Street, Philadelphia. Joseph was for more than forty years a member of the American philosophical society.

His father was a well known early settler, Edward Shippen (Boston, Massachusetts, July 9, 1703 – Lancaster, Pennsylvania, September 25, 1781) who was a wealthy merchant and government official in colonial Philadelphia, Pennsylvania. Edward Shippen entered into mercantile pursuits with James Logan, with whom he was in business from 1732 as the firm of Logan and Shippen. Afterward he went into the fur trade with Thomas Lawrence, as the firm of Shippen and Lawrence. In 1744 he was elected mayor of Philadelphia. In 1745 and for several years thereafter, he served as a judge of the Court of Common Pleas. In May 1752, he moved to Lancaster, where he was appointed prothonotary, as which he served until 1778. He had large transactions as paymaster for supplies for the British and provincial forces when they were commanded by General John Forbes, General John Stanwix, and Colonel Bouquet, and managed them with so much integrity as to receive public thanks in 1760. He was a county judge under both the provincial and state governments.

In early life Edward Shippen laid out and founded the town of Shippensburg, Pennsylvania. In 1746 to 1748, he was one of the founders of the College of New Jersey (now Princeton University), of which he was a member of the first board of trustees, from which he resigned in 1767. He was also a subscriber to the Philadelphia Academy (now the University of Pennsylvania) and a founder of the Pennsylvania Hospital and the American Philosophical Society.

It seems Col Joseph Shippen did not have a military role in the Revolutionary War, but there is a reference of 16 May 1778 which appears to relate to him; Ordered That Joseph Shippen jun'r of Kennet Township Esq. be discharged from his Parole & be at liberty to act as he shall judge best.

A later 19C copy of the portrait describes him as Secretary of the Provincial Council. An example of his earlier army duties are seen in a letter of 1758;
Joseph Shippen to Thomas January, 1758.
Sir, It is His Honour Governor Denny's Orders that you immediately send up Two hundred and Sixty-five Musquets with Bayonets & Cartouch Boxes etc., to Lancaster, which are to be delivered to the Care of Edward Shippen Esq. for the Use of Five of the new Levied Provincial Companies. And also to send Four hundred & twenty four Musquets, with Bayonets & Cartouch Boxes, etc., to Carlisle, which are to be delivered to the Care of Francis West Esq., for the Use of Eight other new Levied Provincial Companies.
By order of Governor Denny, JOSEPH SHIPPEN, Jr., Brigade Major. Philadelphia 5th June 1758
Directed To Mr Thomas January Provincial Armourer in Philad.

And another written to his brother-in-law, who had married his sister Sarah Shippen;
Joseph Shippen to Maj. James Burd, 1758.
Fort Augusta 20 January 1758
Dear Brother [in-law], I had the pleasure to write you the 2d Inst to Mr Burd when I inclosed you the Returns etc for the 1 January 1758, since which several small Parties of Delaware Indians have arrived here with Skins to trade at the Store; among the rest came old King Neutimus, Joseph & all their Family: And we have now 43 present including Women & Children. Job Chilloway (Bro'r to Bill Chilloway) came here t'other day from the Munsey Country at the Heads of the Cayuga Branch, above Diahoga; he was born & bred at Egg-Harbour, is a very sensible fellow & speaks the English Language perfectly well. From all the Circumstances of his Conversation & Behaviour he appears to be a strict Friend to the English Interest; his releasing Armstrong's Wife from the Enemy Indians last Summer, & the prudent precautions he used in sending her here, is a Confirmation of my good opinion of him. He assures me that the only Indians on the Susquehanna who are our Enemies are those of the Munsey Nation; & they are determined to continue the War against the English; he says he understood from some of the Indians when he came away, that a small Party of French were expected next month from Niagara to join a Muncy Captain & some of his Warriours; & their Intention is to go towards the Settlements near Delaware, and to take an English Fort, situated at a place called by the Indians the Bending Hill, which we suppose to be Fort Allen. He further informs me that last March he carried a parcel of Skins to the French at Niagara, to purchase Clothing for his Family, which meer Necessity obliged him to do, much contrary to his Inclination, observing that the unhappy Indian War had put an End to English Trade; that while he was at that Fort, there were but five officers & he computed the Number of Soldiers not to exceed 150, who by his description of their appearance & dress, are Regulars; that they mounted in the Fort 45 pieces of Cannon, some of which were the Brass Field Pieces taken from General Braddock, which they intended in the Summer to send to Fort Frontenac; that the Fort was strong & pretty large, having in it a great Stone House 3 Stories high, where the Officers lived. He intends to return to the Munsey Country in a few days in order to bring away his things, & in the Spring is determined to live among his Brethren, the English with whom he has always enjoyed peace & Friendship.
I have the pleasure to inform you that Capt Jameson & Lieut Garraway arrived here yesterday with 12 Battoes containing 6000 lb flour, 2 hogsheads of Whiskey, 3 Barrels of Salt, & 20 Bushels of Indian Corn for the Garrison, besides a Quantity for Mr Carson's Store. In the morning I shall dispatch off Capt, Lieut Davis & Ensign McKee with a Party of 50 Men in the Battoes to make another trip if possible while tho River is open & favourable. I have restricted the Garrison to an allowance of one pound of flour per man since the 1 January & shall think it Necessary to continue the same till Capt Davis's return with an additional supply. We have now in Store 17390lb. flour & 91481lb. Beef. Inclosed you have a list of Prisoners here for desertion. I hope to have the pleasure of a Letter from you soon with an agreeable account of success in all your Affairs.
I am very sincerely Dr. Sir, Your very Affectionate Brother &c
JOSEPH SHIPPEN Jr

It seems Joseph Shippen was a fine judge of the local 'belles' in Philadelphia as in c1767 he was the author of a verse titled;

‘Lines written in an Assembly Room in Philadelphia,’

In lovely White's most pleasing form,
What various graces meet!
How blest with every striking charm!
How languishingly sweet!

Withe just such elegance and grace,
Fair, charming Swift appears;
Thus Willing, whilst she awes, can please;
Thus Polly Franks endears.

A female softness, manly sense,
And conduct free from art,
With every pleasing excellence,
In Inglis charm the heart.

But see! another fair advance,
With love commanding all;
See! happy in the sprightly dance,
Sweet, smiling, fair M’Call.’

Each blessing which indulgent Heaven
On mortals can bestow,
To Thee, enchanting maid, is given
Its masterpiece below.

In Sally Coxe's form and face,
True Index of her mind,
The most exact of human race
Not one defect can find.

Thy beauty every breast alarms,
And many a swain can prove
That he who views your conquering charms
Must soon submit to love.

With either Chew such beauties dwell,
Such charms by each are shared.
No critic's judging eye can tell
Which merits most regard.

'Tis far beyond the painter's skill,
To set their charms to view;
As far beyond the poet's quill
To "give the praise that's due."

The identification of the belles referred to, is by Anne Hollingsworth Wharton in one of her early histories, Through Colonial Doorways. He was quite a gallant and as his second wife died in 1801, and his gravestone in St. James records that he was not buried until 1810, it is a little puzzle why he did not wed a third time. He named one home Plumley in honor of his mother, but it is not clear if that was the one where he was living in 1810. On his death, an advertisement of his property, in the Lancaster "Journal" April 28, 1810, described it as;
"that large two-story brick house and lot of ground on the north side of Orange street, in the borough of Lancaster, late the property of Joseph Shippen, Esq., deceased. The lot is 51 feet 7 inches and a half front on Orange street and 245 feet deep, and has the privilege of an 8 feet alley on the west. The house contains four rooms besides a kitchen on the first floor and five on the second story. Also a handsome building lot adjoining the above on the east, measuring 34 feet in front on Orange street, and 245 on Lime street. Also another lot west of said house measuring 39 feet 2 inches front and 245 feet deep. This lot has the privilege of an 8 feet alley which is to be in common between this and the house lot."

At Summer Wood there is a thesis dated May 2011 by Summer Wood which discusses the Shippen family in depth. So, all in all, a fascinating investigation into his life and another portrait of an unknown sitter rescued from obscurity! 1461

Unknown - portrait of "TH"

2011-12-07T13:44:00.000-08:00

This miniature portrait has been included under American portraits, although that is not certain.

The miniature is unsigned and the sitter is unknown, although on the reverse are filigree initials "TH", so his name was likely Thomas H..... However, the initials are also possibly "JH" or "IH". Any opinions as to who he might be, from comparison with other known portraits would be welcome.

The miniature shows how frustrating it is when the sitter has lost their identity.

The reasons for leaning towards an American artist is that it was purchased in USA, the casework is somewhat similar to casework produced in America by jewelers who had trained in Ireland. In addition, it can be seen that his waistcoat proudly displays red, white, and blue stripes. This is taken to be an expression of young American pride after the War of Independence.

The detail of his clothing is very fine, even with a shadow on the right shoulder from the white frill of his neck-wear. The miniature is believed to date from c1790-1795 based upon the hairstyle.

The work appears to be by an artist who lacked formal training. The sitter seems to have wiry hair, and is somewhat similar in style to the work of William Verstille (1757-1803), Ebenezer Mack (a1785-1808), and Nathaniel Hancock (a1785-1809), but is not close enough to attribute it to one of those artists. The dark background was often used by French artists, so it is possibly painted by one of the number of French trained artists who fled to America after the French Revolution.

The casework has fine bright-cut engraving and is assembled in a manner closer to American cases, being front opening, rather than rear opening, as was more common in Britain. There is an unusual thin gold fillet or mount as the border, suggesting the jeweler was not accustomed to making cases or had an outer gold case and red leather case available, which was slightly too large for the ivory to be framed, hence the fillet was necessary.

The combination of an expensive gold case and an artist not professionally trained, adds to the belief it is more likely an American artist. If it had been painted in Ireland or England, one would have expected a top artist to be commissioned for a miniature to be housed in such and expensive case, and for the case to be a more perfect fit. 1446

Brown, John Henry - portrait of Emily Hinds

2011-12-06T15:54:00.000-08:00

It is very rare to be able to identify both the sitter and the artist, when a miniature portrait is acquired as an unnamed sitter by an unnamed artist. The following discoveries were therefore very satisfying.

Followers of eBay listings may have noticed this miniature portrait offered for auction in November 2011 by a vendor in England who has gradually been selling a very large collection of British miniatures over a period of several months. Many of the items have been very nice, but this is the only one to be bid on and purchased for this collection.

It may help new collectors to show the steps in researching this miniature portrait, to illustrate how a combination of study, and some luck! - is very helpful in purchasing art of any kind. The vendor described the miniature as;
Stunning Regency portrait miniature with an ormolu mount. - Please find for sale an absolutely incredible and stunning quality Regency portrait miniature of a lady. It is painted in oil with amazing details to her features in a beautiful ormolu mount. The frame housed in a tooled leather case measures 17cm x 15cm, the oil measures 8.5cm x 6.5cm and is offered in good condition.

Although they appear to be innocent, there are several errors in the description.
1 - It is not a Regency portrait, instead it was painted 30 years later.
2 - It is not painted in oils, instead it is in watercolour.
3 - While the condition is very good, there is some retouching on the right edge.

Immediately obvious is the superior quality, such that the miniature appeared to be by the highly regarded American artist, John Henry Brown (1818-1891).

As Dale Johnson noted, "Brown imitated photography so closely that his miniatures became virtually indistinguishable from hand-colored photographs". There were several reasons for believing this.
1 - The overall quality, pose, and attention to detail.
2 - Especially the way the lace was painted.
3 - The style of framing. Most of Brown's portraits in his middle and later period were framed in expensive frames similar in design to that depicted here.

However, one point of nervousness was that, even though the vendor had removed it from the frame to make images for the eBay listing, there was no reference to a signature, whereas Brown normally signed his miniatures. Although it has been suggested he did not sign miniatures of deceased sitters if the portrait was in an opaltype format showing only the head of the sitter. They were produced as a hand-coloured opaltype image, which probably explains why he did not sign them. The apparent lack of a signature on this miniature therefore suggested that either the miniature was of a deceased person or it was signed, but the vendor had not noticed the signature. The latter seemed possible, as Brown's signatures are very small.

The arrival of the miniature was therefore eagerly awaited, in the hope the vendor had missed the signature. On arrival the hunch was proved correct, as the miniature was found to be signed on the left, in letters little more than one millimetre high, "J. Hy. Brown. 1860". The image here has been enhanced to make the signature clearer.

One could say that was the result of study and experience, but the next stage of research to identify the sitter required some luck! Especially when I was dismayed to see that an earlier owner (not the vendor) had tried to remove a label inside which had named the sitter. Removing names from a miniature by descendants on the sale of a miniature is absolutely dreadful and very disrespectful to the memory of the sitter. I have said elsewhere, it is the equivalent of someone digging up and destroying the gravestone of their ancestor! Very little remains but perhaps reads;
...................... wife of
Will ........... (Pres?)cod ...... but possibly instead (Daguerr)eo.
.....M(other?) ... &.. Cost
........................of
..................(dol)lars

However, in this instance there was luck in that the miniature is dated 1860. By chance Brown's 1860 portraits had received close study from me about four years ago. The Rosenbach Museum was kind enough to forward me photos of Brown's workbook for 1860, in connection with a portrait of Maria Charlotte Gouverneur, the wife of General Thomas Cadwalader, which is in this collection. See View It is the one on the left below. I was later sent a photo by a visitor of a miniature portrait of Mary Destouet, nee Maria Morgan, also painted by Brown in 1860 and described as being copied from a daguerreotype. More about that miniature appears in the Guest Gallery. See View

It is very interesting to compare the two miniatures, both painted in 1860. The dresses are identical, barely varying even in the fine details of the lace. I think Brown must have used the Cadwalader miniature as a model for the Destouet dress, as even the way the bottom of the lace caps are draped on the two sitter's shoulders is identical. This perhaps seems unusual, but it may be that the pose, or the clothing fashion worn, in the Destouet daguerreotype was unsuitable and hence Brown posed Mary Destouet in the fashion of 1860, as worn by Maria Cadwalader.

Anyway, as a result of that research a list of Brown's twenty portraits painted in 1860 was luckily available on a CD for study. By a process of elimination, it has been determined that the new miniature appears to be of Mrs Emily Hinds. Brown's handwritten list records:
1 Mrs Samuel S Shober, $155
2 Louis P Holliday, dec'd, copy from dag, $125
3 Mrs Emily Hinds, copy from dag, $175
4 Samuel Ingham, a babe, dec'd from dag, $150
5 Thomas B Wattson Esq, $180
6 Wm Shipper jun, dec'd, from a dag, $155
7 Henry Pepper, dec'd, from a dag, $155
8 Frank Lewis, dec'd from a dag, $125
9 Mrs Gen Tho Cadwalader, $180
10 Mrs Hartman Kuhn, $180
11 Mrs Dr Worts, dec'd, from a dag, $180
12 Mrs Denagse (Denagre?), from a dag, $155
13 Kearsley Carters babe, dec'd, from a dag, $155
14 Mrs Keppeles, $150
15 Lieut Beale, $155
16 Abraham Lincoln, Republican Candidate for President, $175
17 Mrs Destouet, from a dag, $180
18 Mrs Thos B Wattson, $225
19 Edward Buckley's two children, $280
20 Miss Cornelia Rodgers, $180

The process of elimination was;
Already identified above - 9,17
Males or children - 2,4,5,6,7,8,13,15,16,19.
Unmarried woman - 20
From the residual inscription it appeared the sitter's husband's name was William, so eliminate - 1,10,18.
That left - 3,11,12,14

Further research established that the first name of the husband's of numbers 11 and 14 was not William. Number 12 was a Mrs Denagse who was from New Orleans. The name Denagse is an uncommon French name and the name William is not often spelled that way in France. That left only number 3. There appear to be two possibilities.

Firstly - Brown records Mrs Emily Hinds as residing in Philadelphia. She was thus perhaps Emily Hinds (26 April 1805-21 April 1862), wife of Rev William Prescod Hinds (3 June 1795-23 January 1859). His christening is recorded in Barbadoes on 8 July 1795 at WILLIAM PRESCOD HINDS as son of Dr Samuel Hinds (c1763-?) and Eleanor Lytcott (c1763-?), both of whom were apparently born and died in Barbados, with William being the middle of seven children. There is a reference to Prescod Hinds being involved in the transfer of 12 slaves in 1804 at Barbados Slave Lists - Creole Links which would appear to be the same family.

Being part of the large Hinds clan, Emily's brother, Samuel, was also prominent in Barbados, as indicated in this report of his life;
Samuel Maxwell Hinds was born in the parish of St Michael, Barbados, on 12th May 1795 and baptised in that parish on 30th June 1795. He was the eldest son of Benjamin Hinds and Ann Maxwell, both of the parish of St Michael, who had married in that parish on 1st July 1794. He was named after his grandfather, Samuel. The Hinds family had been among the earliest English settlers on Barbados and, by the mid-18th century, had become substantial and widespread landowners, with properties in the parishes of St Peter, St Michael and St Lucy. The family sent three successive generations, of which Samuel Maxwell Hinds was the last, to represent the parish of St Peter in the Barbados House of Assembly between 1773 and 1839. Samuel's father, Benjamin - who was one of the two representatives for St Peter between 1795 and his death in 1807 - was Honorary Treasurer for the island 1805-07 and Chief Justice in the Court of Common Pleas for the parish of St Peter. Samuel was sent to England to be educated and entered Charterhouse School in July 1803; his brother, Thomas Maxwell Hinds (1799-1838) joined him there in 1807. He attended Charterhouse until August 1812, one of his close friends at the school, Henry Havelock (later Major General Sir Henry Havelock, Bart. KCB [1795-1857]), remembering him thus: "Hinds, a man of taste and a poet, spent his early years in travelling, married in France, distinguished himself in one of the colonial assemblies of his native island, Barbadoes, at the period of slave emancipation and died in Bath about 1847": Marshman, J.C. "Memoirs of Major General Sir Henry Havelock KCB" (London, 1860, p.6). Details of Samuel's travels are not known but his marriage, to Louise Victorine Ste. Rose Durand, took place in the chapel of the British Embassy in Paris on 16th September 1820. Samuel and his wife may have returned to Barbados by the following year since there is a suggestion that he was acting Governor of the island in 1821, between the governorship of Lieutenant-General Lord Combermere (1773-1865) and that of Lieutenant-General Sir Henry Warde KCB (1766-1834): this reference may, though, refer to one of his numerous Barbadian namesakes and kinsmen. In 1823 Samuel was elected one of the two representatives for the parish of St Peter in the Barbados House of Assembly and continued to represent the parish until 1839, being elected Speaker for the session of 1836-37 and remaining as Speaker for the next two annual sessions of the House, in 1837-38 and 1838-39. In 1839, Samuel and his wife left Barbados to settle in England. Samuel Maxwell Hinds died in Bath on 19th May 1847, a week after his 52nd birthday. His widow subsequently commissioned a window in the chapel of All Saints, parish of St Peter, Barbados, in memory of her late husband, the inscription reading: "To the memory of Samuel Maxwell Hinds, sometime Speaker of the House of Assembly of this Island. This window is erected by his widow". The Arms of Samuel Hinds, as engraved upon the wine coolers, are recorded in Barbados in 1820, as: Gules, a chevron Or between three stags trippant; crest, out of a coronet, a wyvern; motto, VIGILO ET SPERO.

It appears that a close relation of William Prescod Hinds was Samuel Jackman Prescod (1806-1871), (depicted here), the first person of African descent to be elected to Barbados's Parliament in 1843. Prescod was born as the son of a free coloured mother, Lidia Smith, and a wealthy white father, William Prescod. Although it was said that Prescod bore "no distinguishing marks of negro complexion" he was still subject to the racial discrimination endemic at that time. But after a law change in 1831, he helped found the Liberal Party, whose following included small landowners, businessmen, and coloured clerks. The Barbadian parliament later enacted that he should be called "The Right Excellent" and that his life be celebrated on National Heroes Day (28 April) in Barbados. As there also seems to be a likeness to Emily, it is possible she was partly African-American.

The British National Archives include a letter from T. H. Orderson to Bishop Howley, Christ Church, Apr. 8, 1819 which encloses records relating to the formation of a Barbados Society for Promoting Christian Knowledge and introduces William Prescod Hinds a candidate for orders, who refers to himself as the senior clergyman on the island. His ordination is recorded at William Prescod Hinds, 18/7/1819 and his marriage is recorded at WILLIAM PRESCOD HINDS in Barbados on 12 April 1821 to Emily Hinds, so it seems she may have been his cousin. Her parents being Benjamin and Ann Hinds, with Benjamin being a planter and sugar merchant on Barbados. Emily was christened on 23 November 1805 in Barbados, see EMILY HINDS Further probable references to them are in 1841 and 1847 which mention Rev William S Hinds, an Episcopalian minister of Philadelphia. Emily's age in early 1860 would then be 54, to compare with the miniature, but as Brown notes it was copied from a daguerreotype, it could well be from a portrait taken several years earlier. Emily is buried at Christ Church Burial Ground, Philadelphia, Philadelphia County, Pennsylvania, USA, Plot: Section E, Plot LXXV.

This portrait of Rev W P Hinds is in the NYPL. The Reverend was a very wealthy man; after his death it was recorded in February 1859 by the New York Evening Express; A Rich Clergyman - The late Rev. William Prescod Hinds, of Philadelphia, unlike most clergymen was the possessor of an ample fortune, and unlike the generality of those who possess much of the world's worth, he administered upon his own estate while living. It is stated by a contemporary, that "his estate is valued at a million of dollars. He gave a thousand dollars to his clergyman, eleven houses to his wife, fifteen houses to a married daughter, and about the same number to a daughter unmarried, to be held in trust until her majority. He left no public bequests."

A complimentary obituary of him is recorded at The lives of eminent Philadelphians, now deceased - Page 533 . William Prescod Hinds was born in Barbadoes on the 3d day of June 1795. His family was one of the oldest and wealthiest in the island, of which his father was sometime President, and his brother the Attorney-General. His first cousin was Dr Hinds, the Bishop of Norwich, and another cousin is spoken of by General Havelock in his autobiography. William Prescod Hinds was educated chiefly in England in the celebrated school of Mr Phillips at Frenchay. It was said his extensive and well selected library of the choicest books seemed as much in his mind as on his shelves. In an accurate and critical knowledge of Latin and Greek and their best writers he had few if any superiors, while his wonderful memory was stored with the richest treasures of history. After ordination he returned to Barbadoes and was successively rector of two parishes in that island. After a ministry of fourteen years his health failed him and he was incapacitated for public duty by a disease of the throat. In 1834 that he moved to Philadelphia He officiated a few times in churches, but finding his voice was nearly destroyed by disease he was compelled to resign public ministry. Although with ample means to have surrounded himself with all the show and glitter of pomp and vanity he was distinguished for the plainness and simplicity of his mode of life as he cared little for money. One report noted. "We speak from our own knowledge, when we say that no case of real need was ever presented to him which did not meet a prompt and liberal response. And from every part of the country the missionaries who came to Philadelphia, asking aid for their poor churches, can bear witness to the cheerfulness and liberality with which he answered their appeals".

The 1859 estate of $1,000,000 could approximate $50,000,000 in the 21C. From that report it appears they had two daughters. They also had a son Samuel Hinds but he died at age ten (18 April 1830-17 May 1840). Their married daughter was Ann Hinds (24 May 1826-?) who married William Grassett Thomas (7 Apr 1822-19 Nov 1910) on 21 May 1850, and the then unmarried daughter was Rose Hinds. Ann and William Thomas went on to have nine children and hence some of their descendants are likely still alive. It also seems likely that this portrait of Emily Hinds was taken to England by a descendant of her daughter Ann.

It is interesting to note Emily had this portrait painted in early 1860, only 12 months after her husband's death, presumably as she emerged from mourning. One wonders if Emily had wanted a portrait painted at an earlier stage, but "the plainness and simplicity of his mode of life" meant William would not agree to it? Perhaps as a further sign of Emily becoming her "own woman", she applied for naturalization, which was granted on 2o December 1861. However, this new freedom did not last long as she died on 21 April 1862.

Secondly - there is another possible candidate for Mrs Emily Hinds, as it was noted that the husband of Emily Barrow (1829-1909) was William S Hinds (1820-1901), who she married in Baltimore on 6 January 1853, as his second wife. Her age would then be 31, to compare to the portrait. Emily Barrow appears to be the daughter of Denwood Hicks Barrow and the full name of William Hinds is likely to be William Swiggett Hinds, son of Thomas Hinds and Levina Swiggett. There is also a partial reference in The Christian Advocate reading; "William S. Hinds was born in Seaford. Del., July 20. 1820. His early life was spent In his native State until 1843, when he became a resident of Baltimore, where be died in the Christian faith Oct. 20 ...".

It is not yet certain which Mrs Emily Hinds is the sitter in the miniature, but it seems more likely it is the wife of Rev William Prescod Hinds.

Observant visitors will have noticed the reference to President Abraham Lincoln as number 16. The miniature portrait of him by John Henry Brown is now in the Smithsonian and can be seen at Abraham Lincoln by John Henry Brown

Additionally, there are several other miniature portraits by John Henry Brown in this collection, three being half length portraits of women and three being bust opaltype portraits, mainly in similar distinctive frames and poses to the above examples. The sight sizes are also similar, being either 85mm or 115mm high, but adjusted here for display. The three half length women are L to R;
Mrs Ringold Wilmer, nee Antoinette Tesseire, see View
Mrs Anthony Tesseire, nee Eliza Caroline Morgan, see View
Mrs John Hone, nee Maria Cadwalader, see View
It is a little eerie to think that these three women, together with the three at top above; Mrs Emily Hinds, Mrs General Thomas Cadwalader, and Mrs Maria Destouet most probably knew, or at least knew of, each other as leading members of Philadelphia Society, and are now "meeting" again, in the form of their portraits, 150 years later. The population of Philadelphia being 565,000 in 1860, and rising to 2,070,000 in 1950, before declining to 1,526,000 in 2010.

Another possible portrait by Brown is of Mrs Metcalfe in a brown striped dress, see View

Also one of a young lady in an oval metal case. Again, it is not as certain that this is by Brown, but it does seem likely, see View

The bust portraits against a white background are probably of deceased sitters, they are believed to be opaltypes available at a lesser price due to the use of a photographic process and the absence of a background. See View and View, 1454

There is an interesting transcription of Brown's journal by the Rosenbach Museum at John Henry Brown » Today in the Civil War

Yale University has recorded the following note about John Henry Brown and photography;
Brown owed his popularity to an uncanny ability to imitate photography in his attention to detail and high degree of contrast, yet also to mimic oil painting in his brilliant, opaque colors and complex compositions, while remaining true to the miniature tradition in feeling and format. He embraced the new photographic medium by acknowledging his debt to daguerreotypes and later ambrotypes for many of his miniature portraits, including that of Abraham Lincoln in 1860. His miniatures based on photographs were often posthumous portraits, reflecting the increased demand for mourning miniatures after mid-century. He painted for a broad clientele, including members of the established as well as new merchant elite.

In the 1860s, however, Brown's level of patronage began to decline. In his journal, he attributed his situation to the sense of impending war and the growing preference for photographic images. In October 1864, he joined the existing photography practice of Frederick August Wenderoth and William Curtis Taylor to form Wenderoth, Taylor, and Brown. The Philadelphia firm was one of the pioneers in addressing the public's desire for colored photographs. The enterprising Wenderoth introduced Ivorytypes, colored photographs on glass, to America in 1855. The firm also produced Opalotypes, photographic images on opaque white glass, which Brown then tinted with washes of color in imitation of portrait miniatures. The partners also offered their clientele a choice of media by advertising "Fine Photographs and Paintings of every Description."

In the 1870s, Brown rededicated himself to his career as a miniature painter, exhibiting at the National Academy and at the 1876 Centennial Exhibition. For clients demanding both the traditional and contemporary, Brown's distinctive miniatures seamlessly combined the longevity of the miniature format, and its associations with social refinement, with the popular aesthetics of photography. Many miniaturists flirted with the profession of photographer; unlike Brown, few of them returned to limning in watercolor on ivory.

Later, a collector, who I know to have a very fine collection of American miniatures, has emailed me advising that the above list of 1860 miniature portraits by Brown, has now enabled the collector to narrow down and identify the miniature depicted as number 15, as being of Lieutenant Edward Fitzgerald Beale (February 4, 1822 – April 22, 1893) who was a national figure in 19th century America. He achieved national fame in 1848 in carrying to the east the first gold samples from California, contributing to the gold rush.

He surveyed and built a wagon road that many settlers used to move to the West, and which became part of Route 66 and the route for the Transcontinental railroad. As California's first Superintendent of Indian Affairs, Beale helped charter a humanitarian policy towards Native Americans in the 1850s. He also founded the Tejon Ranch in California, the largest private landholding in the United States, and became a millionaire several times over.

The collector had acquired it at a Freeman's auction in 2011 where it was described only as;
Lot 1142 - John Henry Brown (1818-1891) - portrait of a gentleman with muttonchop whiskers. Signed, "J.H. Brown 1860," watercolor on ivory, in a gilt locket frame fitted with beribboned locket of hair at back. 2 in. x 1 3/4 in.

Browns's price for that miniature was $155 which suggests that the lower price for some miniatures was due to them being head only portraits, thus requiring less time and sittings to paint them.

Given more examples, it may become possible to match together more of Brown's miniatures with his workbook.

Rogers, Nathaniel - Three children

2011-09-08T13:41:00.001-07:00

This appealing miniature portrait of three children is by the accomplished American artist, Nathaniel Rogers (1787-1844). I confess that he is my favorite American miniature painter, and there are now nine miniatures by him in this collection. The others can be seen below where there are links to more details about them and about Rogers.

Unfortunately, the three children here are unidentified, but there seems a strong probability that the Metropolitan collection includes a miniature of the same eldest child.

It is shown below for comparison. The features are a little different, with the single version having features a little sharper, but the hairstyle and dress are identical in the two images.

The Metropolitan example is described as being 72mm x 59mm, so is smaller than that of the threesome which is 111mm x 86mm.

Additionally, the Metropolitan catalogue describes their portrait as being in a "green leather case with ormulu mount" and the miniature here is housed in a similar case.

It would be interesting to know the history of the two portraits. The Metropolitan one was gifted in 1990, and prior to being acquired for this collection, the threesome came from a collection accumulated during and after World War II. 1440

More about the other examples in this collection can be seen at;
Rogers, Field, Edwards, and another artist - View
Rogers, Nathaniel - portrait of David Ryerson
Rogers, Nathaniel - portrait of Dana Eleutheros Comstock
Rogers, Nathaniel - portrait of a man
Rogers, Nathaniel - portrait of Master Bucknell
Rogers, Nathaniel - portrait of a young man

The others are shown here so that the development of Rogers style can be seen. One is in a "make-do" case of around 1815 with an extra fillet, and the others range through to the rectangular one dating to about 1830, which has an unusual background very similar in style to two portraits of ladies by Rogers in the Metropolitan collection.

Over time, Rogers tended to move from a more angular, gaunt and unsmiling style, reminiscent of Joseph Wood and appropriate to the United States during the time of the 1807 Embargo Act and the resultant War of 1812, to a well-fed and rosy cheeked appearance, with a hint of a smile, during the following years of peace and prosperity! This latter period was a time when more people could afford to have miniatures painted and hence most of Rogers miniatures date from between 1820 and 1835, with his output seeming to cease just prior to the advent of the cold wind of photography. Rogers was only 57 when he died, so could have been even more prolific had he lived longer.

Restoration of the Nathaniel Rogers House in Bridgehampton NY is officially underway. The house was built for Rogers in 1842 and known as Hampton House. Its magnificence gives a idea of how important he was as an artist. The house has apparently suffered from deferred maintenance and so the restoration is welcome. These days, the price of the exterior stabilization will be $1.9 million, but that's just a drop in the ionic column compared to the renovation's total expected cost of $4.5 million. Of that sum, the historical society already has commitments of $2.2 million, including $1.1 million from Southampton Town over the next three years. Another $850,000 has come from private donors, and $250,000 from the New York State Office of Parks, Recreation and Historic Preservation. The building has been listed on the National and New York State Registers of Historic Places.

It is intended to hold a major exhibition of Rogers' work in the house on completion. Successful and sympathetic restoration of the project may lead to a resurgence of interest in Rogers who, as with other miniature painters of the 19C and early 20C, has been much under-rated as an artist. The Project welcomes donations. Nathaniel Rogers House Preservation Project

For those interested, there is an extensive article about Rogers at; The Legacy of Nathaniel Rogers (1787-1844) Long Island Artist from ...

Dennis, Edgar - self portrait?

2011-09-06T14:50:00.000-07:00

This miniature portrait is by a previously unrecorded American artist, Edgar Dennis. It may well be a self portrait, as it has that kind of appearance about it, where extra attention is paid to the detail, compared to portraits painted for commercial purposes.

On the reverse there is an outline of a man's head and a signature in pencil, "Painted by Edgar Dennis, NL, Ct." where NL stands for New London, Connecticut. The miniature is relatively large at 110mm x 90mm.

While somewhat primitive in style, the composition and brushwork are excellent. The shading is very cleverly done, especially on his clothing and on his face. Few miniatures from any country have such detailed backgrounds.

A kind visitor has assisted with the following information.
Edgar Dennis appears to have been born on 12 August 1823 at New London Township. There is no record of a marriage and he died on 12 April 1852 at the age of 28. He was the son of Henry Dennis (1788-1870) and his wife Sarah Sally Briggs) (1792-1870), who were married on 2 June 1807 in New London and had a number of children. 1441

The Buchanan Family

2011-08-17T19:00:00.000-07:00

Visitors may have noticed this group which was recently up for auction on eBay.

It was offered there three times, each time with a reducing Buy-It-Now price, and turned out to be a case of being third time lucky for this collection and a very interesting group of portraits to research.

The previous owner had inherited them from a great aunt who had lived in Ontario, Canada, along with a Buchanan crest, and a Buchanan Skindoo (a knife they used to wear with their kilts). The group of four portraits are all members of the Buchanan family. The tartan ribbon is understood not to be that of the Buchanan clan, as the Buchanan Tartan is mainly orange, navy blue and hunter green. There is a hunting version of that tartan and a formal dress version.

The family lived in Ireland and their ancestors had emigrated to Ireland from Scotland in 1674.

The first miniature portrait was painted by the Irish artist Charles Robertson (1760-1821) who was born and died in Dublin, but also worked in London where he exhibited at the Royal Academy between 1790 and 1810.

Charles Robertson executed miniatures of high quality and often used blue or grey shading on the sitter's face. This is helpful in identifying his work, as he did not sign his miniatures.

Showing here for comparative purposes, is a miniature Charles painted of his brother, Walter Robertson, who was also a painter of miniature portraits who worked in Ireland, London, and America, before going to India, where he died c1801. The original miniature portrait is in the National Gallery of Ireland. The style and blue colouring are very similar.

Also showing is another slightly later miniature by Charles Robertson of an unknown man which is also in this Artists and Ancestors Collection. For more about it see View Charles Robertson also had a connection to Canada as Thomas Jaffray Robertson, the first Head Master of the Toronto Normal School, was born in Dublin, Ireland, in March, 1805, and was the youngest son of Charles Robertson.

The first Buchanan miniature has the initials "JB" on the reverse which are believed to be for John Buchanan, of Omagh, who was born in 1736. He married, first, Jane Long, who died without issue and, secondly, in 1770, Sarah, daughter of James Sproule, of Granan, near Dromore, Co. Tyrone, and sister of Oliver Sproule, Esq., M.D. He was a Commissioner to value the glebe house upon a death. He died at Omagh, on the 13th October, 1820, aged 84 years. His wife died there on the 30th April, 1822, in her 71st year. They were buried in Donaghanie Church Yard, near Omagh. They had issue:

It is interesting to compare the hairstyle of the miniature with that of Walter Robertson. The hair on the left of the James Buchanan portrait seems to have been altered, likely adjusted by the artist upon the request of the sitter, as hair/wig styles had altered, since the wig was first painted in the same style as the miniature of Walter Robertson.

The case is very fine, and the glass and engraving on the reverse can be seen as the type of casework that inspired the American casework that became popular from c1810. Even so, the American case-makers went one stage further to specialise in front-opening cases.

The second miniature is of his eldest son, James Buchanan who was born February 1, 1772 in Strathroy, County Tyrone, Northern Ireland, and died October 10, 1851 near Montreal, Quebec, Canada, from apoplexy brought on by a severe cold caught traveling by coach from Boston. He married Elizabeth Clarke December 28, 1798 in Aston Quay, Dublin, Ireland, daughter of James Clarke and Elizabeth Stockdale.

The miniature is inscribed on the reverse, "James Buchanan Esq Aetat 28 Born in Omagh, Ireland, January 1774 Died in Montreal October 1851, British Consulate New York from 1816-1842". A kind researcher advises a photo of his grave can be seen on Findagrave at Buchanan, James

James Buchanan was connected, directly or indirectly, to two famous revolutions. The first was the Irish Rebellion of 1798. The Rebellion of 1798 having widely spread, James Buchanan was introduced by Mr. Alexander to Mr. Hamilton, Under Secretary of State, who consulted him as to what should be done to counteract the efforts of the disaffected in the County of Tyrone, and as a result he was vested with authority to take such steps as circumstances might call forth. He relates at some length the part which he played in the Rebellion, including passing through rebel lines.

"I proceeded," he says, "on horseback to Omagh (from Dublin), with my hair up under my hat without powder, as croppies were the most of the Rebels. ... The next day I sent for several influential men and the Presbyterian clergy, and held a meeting and prepared an address to the Lord Lieutenant. At this meeting I was enabled to state that forthwith in the district 5000 loyal men would be enrolled and place themselves under the orders of officers appointed by His Majesty, and would serve for the preservation of the County without pay, so that the regular troops might be withdrawn. The next morning I proceeded to Dublin with this address to the Lord Lieutenant, and it so happened that an express the same morning reached the Castle of the Rebellion in the North, and that Lord O'Neill was killed and the whole North was in rebellion. Most opportune my address, coming at the same hour. Placards were posted through the city of my arrival with the address referred to, and it was deemed of great importance, and my reception was gratifying. Bringing up this address opened to me the doors of the Castle, and I was frequently informed of matters to see if I could be of any service. Mr. Pelham, afterwards Duke of Newcastle, having succeeded Lord Castlereagh, was very communicative to me, and preferred referring to me than to the usual channels of information."

It was as a result of the services rendered here and contacts that he made here that he was later appointed Consul in New York. That was then an important post, covering an extended period after the war of 1812.

The second was the American War of Independence. Major John André was executed as a spy by the Americans in 1780. He appealed to General Washington to be executed as a man of honor—shot by firing squad — but Washington held firm and did to André what the British had done to 21 year old Nathan Hale four years before; had him hanged. James Buchanan later arranged for the removal and transfer of Andre's remains to London, England.

In the nave of Westminster Abbey there is a monument to Andre. Designed by Robert Adam and carried out by Peter Mathias Van Gelder it was erected in 1782 at the expense of King George III. It shows a mourning figure of Britannia with a lion, seated on the top of a sarcophagus. On the front of this is a relief showing George Washington in a tent receiving a petition and Major André being led away to execution. The inscription reads:

"SACRED to the MEMORY of MAJOR JOHN ANDRÉ, who raised by his Merit at an early period of Life to the rank of Adjutant General of the British Forces in America, and employed in an important but hazardous Enterprise fell a Sacrifice to his Zeal for his King and Country on the 2nd of October AD 1780 Aged 29, universally Beloved and esteemed by the Army in which he served and lamented even by his FOES. His gracious Sovereign KING GEORGE the Third has caused this Monument to be erected.

The Remains of Major JOHN ANDRÉ were, on the 10th of August 1821, removed from Tappan, by JAMES BUCHANAN ESQ. His Majesty's Consul at New York, Under instructions from His Royal Highness The DUKE of YORK, And, with the permission of the Dean and Chapter, Finally deposited in a Grave Contiguous to this Monument, On the 28th of November 1821".

James Buchanan wrote a variety of political pamphlets while he was in New York. A list of some of them appears here. He wrote in 1834; "A Project for the Formation of a Depot in Upper Canada, with a View to Receive the Whole Pauper Population of England".

James Buchanan was also the author of a book published in 1824 titled "Sketches of the History, Manners & Customs of the North-American Indians with a Plan for Their Melioration".

Alan Brown of www.ontarioplaques.com has kindly allowed the display of a historic plaque describing the role of James Buchanan in founding the settlement of Strathroy in Canada, named after his birthplace in Ireland.

Still to be researched is an incidence referred to in an auction lot of 22 February 2005;
Lot 716. (JAMES BUCHANAN) (1772-1851) The "other" James Buchanan, namesake of the 15th president, author, landowner and British Consul in New York, arrested on charges of forgery and debt, causing the president much grief throughout his political life. Offered here is an original partly-printed arrest warrant, 2pp. legal folio, February 8th, 1819, New York, for James Buchanan along with son Alexander Carlisle Buchanan (1808-1868), ordered held on $12,000 bail, an enormous bail amount at the time! Bears intact seals aside signatures of Alexander and James, the latter being strikingly similar to that of the president's early scrawl. Folds, one repaired on verso with cello tape, light toning, otherwise very good. Also included is a second document, signed "James Buchanan" as British consul, large ledger-size folio, February 8, 1930, New York, a detailed, notarized account of the estate of the late Charles Shey Bruce, Esq. Several weak folds, light toning, existing cello tape repairs. Estimate $150-200

The third miniature is of Dr John Buchanan. The miniature is inscribed on the reverse "John Buchanan Esq Born in Fintina, County Tyrone, Ireland, 1769 Died in Quebec about 1816. Surgeon in HM 49th Regiment of Foot / Photograph [sic] from Water Colour."

Although the inscription says photograph, it is clearly a painting and, if it is not the original portrait, it was perhaps intended to say it was copied from a photograph. He was the fourth son of Alexander Buchanan (1716-?) of Eccles Green near Fintona, County Tyrone in Ireland and he married Lucy Richardson.

Indication of the original the portrait is copied from, is conveyed by a kind visitor who has been researching John Buchanan and advises; The black and white profile of Dr. John Buchanan you have from "The Buchanan Book" is clearly by Gerrit Schipper - the same Dutch itinerant who did Brock's portrait. It would appear to me that the original miniature you have is either a copy of the miniature (illustrated in black and white) of Dr. John Buchanan by Schipper, or perhaps an original by Schipper. I know that Schipper did locket size portraits, but I've never seen any of them. Most of his miniatures - like the one in black and white showing Dr. John Buchanan - seem to have been pastels, about 8 by 10 inches in size and framed."

Gerrit Schipper (1775-1832) was born in Amsterdam and worked in Paris, London, Charlotte SC, New England and Quebec, before dying in London. As the colours include late 19C pastel colours, not available when Schipper was alive, this miniature appears to be a copy, perhaps indirectly, taken from his original portrait.

Dr John Buchanan's own son was Alexander Buchanan QC lawyer, judge, and justice of the peace; born 23 April 1798 in Gosport, England and died 5 Nov. 1851 in Montreal.

This is where the families join, as in May 1824, Alexander married Mary Ann Buchanan, the daughter of the above James Buchanan, the Consul.

Pictures of Alexander Buchanan and Mary Ann Buchanan appear here.

There is another version of the miniature of Dr John Buchanan, as well as a miniature portrait of him as a younger man, in army uniform, in a book about his father, titled "The Buchanan Book - The Life of Alexander Buchanan QC" by Arthur William Patrick Buchanan which was published in Montreal in 1911.

The older photographic portrait showing here cannot have been copied from the book, as the book is specific about his date of death as 16 October 1815, whereas the miniature says about 1816.

The portrait of Dr John Buchanan in the army uniform was probably painted by the Irish miniaturist Frederick Buck, who painted many military portraits.

The same book includes different portraits of James Buchanan the consul and of Wentworth James Buchanan.

It therefore appears that this group of miniatures was not available to the author of the book when he wrote it.

The fourth miniature is of Wentworth James Buchanan (1828-1905) and is signed by the artist C Webster. Wentworth was the grandson of Dr John Buchanan and second son of Alexander Buchanan QC. He was therefore descended from all three of the preceding Buchanan portraits.

Wentworth Buchanan joined the Bank of Montreal in 1853 and in 1881 was appointed General Manager, retiring on 31 October 1890. He married Agatha Burrowes and they had several children.

It is inscribed on the reverse "Wentworth James Buchanan Aetat 74 Born and died in Montreal 11 Dec 1828 - 2 July 1905 - Painted from a photograph January 1908".

Later; A kind researcher has sent the following extra information about the family;
[As I typed "James Clarke" and "Aston Quay" into a search hoping there might be something online containing more information on the father of my 5th great grandmother Elizabeth Clarke who married the British Consul James Buchanan, I was pleasantly surprised to find your blog.
http://aminports3.blogspot.com/2011/08/buchanan-family.html

Another small booklet written by James Buchanan, British Consul, you might find of interest is a lengthy letter he wrote the the Earl of Durham in which he included discussing the benefit of free trade between the US and Canada.

A letter to the Right Honourable the Earl of Durham, K.G.B., lord high commissioner and governor in chief of Her Majesty's North American possessions, &c. &c. & c: calling His Lordship's attention to the advantages to be derived by allowing a free transit of merchandise through Canada to the state of Michigan and Wisconsin Territory, as a means of preserving our friendly relations with the United States, with observations as to the river St. Lawrence, for extending the commerce of the empire and enriching the Canadas
http://www.archive.org/details/cihm_21650
1838 - 25 pages

What I know about the Clarke side comes from The Buchanan Book, which you quote an abstract of from James Buchanah's diary, so I am sure you are familiar with. James and Elizabeth's fourth daughter Sarah married Robert Blackwell on 29 Sep 1829 at Cappagh, Tyrone, Ireland. Robert and Sarah's daughter Margaret "Meta" Eleanor Whitla Blackwell (3 Jul 1839 - 26 May 1880) was married 25 Feb 1868 at Kilkishen Church, Co. Clare, IRE to Michael Hodder Joseph Roberts (3 Jul 1839 - 26 May 1880). MHJ Roberts was the last of my Roberts line mentioned in Burke's Roberts of Kilmoney Abbey.

The Buchanan Book: The Life of Alexander Buchanan, Q.C., of Montreal
http://www.archive.org/details/buchananbooklife00buchuoft
by A. W. Patrick Buchanan
p. 234 - 236

VIII. Sarah, born on 24th March 1810, at Common Green, and named after her grandmother Sarah SPROULE...She came to New York with her father, but went back to Ireland in April, 1829. On the 23rd September, 1829, she as married in the church of Cappagh, Omagh, to Robert Blackwell, son of Alexander BLACKWELL, of Holywood, near Belfast. She died on 18th February, 185, at Lower Mount Street, Dublin.

The Buchanan ancestry is very extensive, and traces back to the Stewart clan and Robert the Bruce. A genealogical and heraldic history of the landed gentry of Ireland By Sir Bernard Burke
Buchanan of Edenfel
http://books.google.com/books?id=Ha0EAAAAIAAJ&pg=PA54

Strathendrick and its inhabitants from early times : an account of the parishes of Fintry, Ballfron, Killearn, Drymen, Buchanan
http://www.archive.org/details/strathendrickits00smit

An inquiry into the genealogy and present state of ancient Scottish surnames : with the origin and descent of the Highland clans; and family of Buchanan. By William Buchanan of Auchmar.
By William Buchanan
http://books.google.com/books?id=cXdbAAAAQAAJ

The history of the ancient surname of Buchanan and of ancient Scottish surnames, more particularly the clans By William Buchanan 1793
http://books.google.com/books?id=Ht5EAAAAYAAJ

Miscellanea Scotica: A Collection of tracts relating to the ..., Volume 4
http://books.google.com/books?id=tNY9AAAAcAAJ

I did copy the will of James Buchanan from the Toronto Archives, but have never had the motivation to transcribe the lengthy, dry writing. I was able to discover the burial location for James and Elizabeth and find a volunteer willing to create a memorial and photograph his vault on Find a Grave.

http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=75605008 ]

And from the same kind researcher;
["Addresses and testimonials to James Buchanan, Esq., ex-consul of New York: upon his retirement from the consulate of that city, with respective replies" (1843)
http://www.archive.org/details/cihm_21907

ADDRESSES AND TESTIMONIALS
TO
JAMES BUCHANAN, ESQ., EX-CONSUL OF NEW YORK.
UPON HIS RETIREMENT FROM THE CONSULATE OF THAT CITY.
WITH HIS RESPECTIVE REPLIES.
EX-CONSUL BUCHANAN.

The following addresses and testimonials, so honorable to Mr. Buchanan, have been deemed worthy of being collated, so as to be transmitted to his numerous posterity:

[From a New York Paper.]
We learn with regret, that, James Buchanan, Esq. who has faithfully fulfilled the office of British Consul in this city, has, after a period of nearly twenty-seven years, solicited and obtained a release from those duties, which he has honorably fulfilled to the satisfaction of his own Government and the citizens of New York, liberally provided for in his retirement.

[From the Commercial Advertiser.]
We have not by any means intended to permit our old friend — fellow-citizen we may almost call him — to go away from among us, to be seen of us, perhaps, no more, without offering something in the nature of a public tribute to his estimable character as a man, and his efficient, yet always courteous and judicious conduct as a servant of a foreign power. For above a quarter of a century he has dwelt in our city; for almost half an ordinary life-time we have known him personally, and there is scarcely a native born resident, perhaps, whose form and features are more generally known. Indeed, though as the representative of a foreign government he has been, officially, among us and not of us, it seems hardly possible to look upon him as an exotic — as anything but a genuine New Yorker; and when he departs to the new home which he proposes to make the place of his retirement, we shall miss him exceedingly.

We shall look, but in vain, for the vigorous step, the robust form end hearty expression of countenance which bear up so bravely under the weight of his more than three score and ten winters; we shall no more see him soberly trotting along some out-of- town road, on his old white horse, breathing the fresh air of the summer dawn, at an hour when scores of younger men are still hugging the dear delusion of a morning dream; nor shall we see him braving; the keen encounter of a winter wind, without cloak, or dread-nought coat, or upper Benjamin, or anything more than a blue spencer, besides his ordinary consular frock, with bright official buttons. He will be seen of us no more, but we shall not forget him.

We intend to place before our readers copies of two addresses which have been, or are about to be presented to Mr. Buchanan, on his approaching departure — numerously signed; one, we believe by citizens generally, and the other by citizens and residents of British origin. We had some idea, too, of giving an outline sketch, at least of many works, benevolent or otherwise laudable, in which we know that he has taken an active part while holding the office of consul at this port ; but having accidentally come into possession of a paper, drawn up by an Irish gentleman, who has lived almost, if not quite, as long in our city as Mr. Buchanan himself, and who knew him in Ireland — this paper, moreover, containing a brief narrative of good deeds done by the ex-consul almost half a century ago — deeds highly honorable both to his head and heart — we have chosen rather to place it before our readers.

Mr. Buchanan's public career may be said to have commenced so far back as the Irish rebellion of 1798, when he joined the Orange association, which was then a body of true and zealous loyalists, and also enrolled himself in the attorney's corps of volunteers in the city of Dublin, where he was practising the legal profession.

His zeal, sagacity, and discretion having become known to the government, Mr. Buchanan was selected by Lord Castlereagh, who was then the Irish Secretary, to counteract the efforts of the disaffected in his native county of Tyrone. On arriving at Omagh, the capital of the county, when; his father resided, he found that Lord Portarlington, who commanded the Queen's county militia quartered there, had disarmed the inhabitants. Mr. Buchanan at once interposed his authority, and restored above 300 stands of arms to their owners, at which Lord Portarlington was so displeased, that he threatened to withdraw the sentinels. Mr. Buchanan thereupon turned out with sixty of the most respectable inhabitants, ready to mount guard, but his Lordship deemed it prudent to yield, and the county continued loyal and quiet.

In a few days, Mr. Buchanan having called a meeting at Omagh, such a spirit of loyalty was aroused, that above five thousand offered to place themselves under officers of the King's appointment, and without pay, to preserve the peace of the county, with whose address to that effect he proceeded to Dublin, and happily arrived on the morning when the accounts and defeat of the murder of Lord O'Neil, by the rebels, near Antrim, reached the capitol, with exaggerated statements that the whole North of Ireland was in rebellion. To correct this report, Mr. Buchanan's arrival, with the address, was forthwith placarded all over the city. Soon after this, Mr. Buchanan, having become a magistrate of Tyrone, was selected by the Marquis of Abercorn, the lieutenant of the county, to carry into effect the arming of the loyal population ; and finding that the Roman Catholics were to be excluded, declined taking any part in the measure. His remonstrances against the injustice, as well as the impolicy of such a course, induced the Marquis to send him to Dublin, when, on his representations to the Lord Lieutenant, the order was promptly countermanded.

The plan of arming, however, was not carried into effect, but Mr. Buchanan embodied a corps of yeomanry, of which he held the command, under the son of the Marquis, the members of the corps being all Orangemen but two. His influence was happily exerted to repress the spirit of insult and outrage which began to prevail between the Orangemen and Catholics, and such was the effect of his example, that the corps, in order to show their good feelings to the two Roman Catholic members, requested Mr. Buchanan to allow them to march in their uniform to the Roman Catholic chapel at Newtown-Stewart, where the priest gave an excellent conciliatory address to an immense multitude attracted by so extraordinary an event ; and such was the effect produced upon the entire corps, that the members unanimously voted two days' pay to aid in repairing the chapel. The good feeling thus awakened, had the happiest influence upon the peace of the county. The effect of such conciliating efforts led Mr. Buchanan to advocate Catholic emancipation, so that his conduct was noticed by the Roman Catholic Board of Ireland, who voted him their thanks, and a piece of plate.

The plate he refused to accept, on the ground that should he receive it his influence would be diminished, but the letter conveying the vote of the Board he still retains with just appreciation, as an honorable testimonial and a memento of those trying times in which he bore so active a part. Such a testimonial to an Orange magistrate, commanding an Orange corps, is indeed honorable to both givers and receiver. A somewhat remarkable circumstance, connected with an event that took place since Mr. Buchanan became a resident among us, may not be unworthy of notice. Those who have visited Westminster Abbey, on turning from the poet's corner down the great aisle, may have noticed a marble tablet bearing the following inscription — "James Buchanan, Esq., His Majesty's consul at New York." It was placed there by order of the Duke of York, to commemorate Mr. Buchanan's agency in exhuming and conveying to England the remains of Major Andre; and he is perhaps the only man living who has the honor of seeing his name inscribed in that receptacle for kings, heroes, poets and statesmen.

But more laudable than all these things, and more honorable to Mr. Buchanan, was his early agency in the establishment of Sunday schools, having erected at Common Green, near Omagh,at his own expense, a slated stone building, capable of accommodating from three to four hundred children, as a Sabbath school; introducing and enforcing the principle that no sectarian catechism or creed should be admitted therein, or any observation or distinction bearing on any sect, while all, as soon as capable, should read the Holy Scriptures, and commit such portions to memory as taught love to God and man, obedience to parents and fidelity to masters. As a consequence of following up this system, in the course of a few months the Roman Catholic children attended as well as others, and at the annual exhibition and presentation of premiums, the Roman Catholic priest, the Presbyterian minister and the rector of the parish attended, and afterwards partook of the hospitalities of his table. Thousands of children, now grown to be men and women, are scattered over the United States and Canada, who attended that school at Common Green, and can bear testimony to the just and liberal system on which it was conducted. Mr. Buchanan attempted the same thing here, but was defeated, and to avoid contention silently withdrew from an important duty, which he purposes to follow up in his retirement. It should be mentioned that above forty years ago he was a director of the London Foreign Missionary Society, and has always been active in circulating the Scriptures, and while deemed peculiar in his views, yet actuated by a peculiarly Catholic feeling toward those who differ from him, he avoids all contention on religious subjects.
A CITIZEN of New York, formerly of Dublin.

[From the New York Courier and Enquirer.]
After referring to the appointment of Mr. Barclay, the editor speaks of the ex-Consul as follows : —
But while thus gratified at the selection made to succeed Mr. Buchanan, we take pleasure in uniting with our fellow-citizens in recording our high appreciation of the distinguished ability and courtesy, with which that gentleman has always discharged his duties to his Government and the public with whom he has officially been brought in contact.

Amiable and affectionate as he is known to be in all his private and social relations, his conduct as a public functionary, has been equally commendable and praiseworthy. In the discharge of his official duties, he has very frequently been brought in contact, and sometimes in unpleasant collision with our local authorities; yet in every instance he has so conducted himself, that while yielding nothing due to his Sovereign, he has never left an unpleasant feeling towards himself in the minds of our own officials. He has in all respects, proved himself a faithful public servant, and a kind-hearted and amiable man.

With the consciousness that he has done his duty in every position in which he has been placed, we doubt not but the evidences he has recently received of the just appreciation of his public services by our Foreign and American Merchants, and by the most distinguished of our Irish fellow-citizens, must be a very acceptable offering. To the faithful public functionary, these are the highest and most acceptable rewards that can be tendered or received; and we regret that the demand upon our columns, renders it impossible to lay before our readers the numerously signed addresses to which we refer and which have been kindly exhibited to us. In the spirit of both, we say in all sincerity, may he and every member of his estimable family, experience health, happiness and prosperity, whenever, and among whomsoever their future lot may be cast.

Praise Well Bestowed.— The Philadelphia Inquirer, copying a passage from a letter in the National Intelligencer, highly complimentary to Mr. Buchanan, for more than twenty years the British Consul at this port, on the score of his discreet official deportment, adds the following remark : —
" We may remark here, that the British government will find it difficult to supply the place of the present efficient consul. He has through his long term of service, faithfully devoted himself to the interests of his country, and has nevertheless, on more than one occasion, assisted in reconciling difficulties— preventing misunderstandings, outbreaks, and possibly bloodshed. He has not only discharged his duties with ability, but with tact, judgment and discretion. These are great qualities in an officer of his class, and at a port of so much importance as New York."

If a Philadelphia editor can speak thus with confidence, we, who are on the spot, may be allowed at least to bear testimony in confirmation. And we happen to know that Mr. Buchanan's judicious mode of proceeding has in more than one instance called forth the approving notice of the national authorities. We know, for instance, that in relation to the case of the slaver Butterfly, the Secretary of the Treasury wrote as follows to the U. S. District Attorney : —
" Mr. Buchanan rendered very efficient services, and his whole conduct was marked by the most liberal and considerate regard for the rights of the government of the United States."

The following is deemed worthy of being preserved as coming from a gentleman personally unknown to Mr. Buchanan :
New York, October 30, 1841.
To James Buchanan, Esq., H. B. M. Consul for New York; —
Sir : — Permit me, through the medium of my boy, Sidney., to present you a Chinese sword, taken on the capture of the Bogue forts, and brought home by my son, who recently arrived in the ship Narragansett. Although of no great value, yet its associations as connected with the achievements of British arms in China, are calculated to render it to you an interesting trophy, and as such, I pray you to do me the honor of accepting it.
Very respectfully, I am your obedient servant,
ALBERT VEDDER
BRITISH CONSULATE,
New York, 2d November, 1841.

Sir: — I feel not only honored but highly gratified by the reception of the Chinese sword, taken at the capture of one of the Bogue forts, and brought home by your son, who recently arrived in the Narragansett from Canton. However much all warfare is to be deplored, may we not hope that the time is come when, under the influence of those liberal principles which are penetrating every corner of the earth, and which are essential in the melioration of the state of the people, China, truly miscalled the Celestial Empire, may, through the instrumentality of the destroying sword, be opened to the sword of the Spirit, "the Word of God !" And as England has been the highly honored means of originating the British and Foreign Bible Society, whose efforts have been zealously followed up by the American Bible Society, may we not hope that mother and daughter will have a new and glorious field for their united endeavors, not only in promoting the temporal, but the eternal interests of nearly one half the inhabitants of the earth, hitherto subject to the most debasing servitude of both mind and body, and to all human preception so utterly hopeless, that the philanthropist and christian have regarded the removal of their degradation as all but impossible ! I cannot but view these events with a higher estimate than the mere extension of trade or the taking of a few forts, outposts to shut out the light of civilization ; believing that empires and states are under the control of the Almighty Ruler of Heaven and earth, by whom the fall of a sparrow is regarded — And I am firmly persuaded that the rise and fall of empires are beyond the control of the combatants, however bold and daring their enterprise. Abhorring and deploring war as I do, upon christian principles, I must rejoice in the persuasion that the peace of the world may be sustained by the United States and England, for if they are united in restraining the destroying sword by the same spirit which unites them in sending forth the sword of the spirit, all the powers of the world dare not, though united, unsheath the accursed sword of war and destruction.

Your gift of the sword obtained by your son has called forth these reflections, and raised feelings I did not anticipate. Permit me to add, sir, that I accept it with sentiments of sincere respect, and beg to assure yon, that I regard the compliment the more highly as coming from a gentleman to me a perfect stranger.
I remain your obedient and faithful servant,
JAMES BUCHANAN.
To Albert Vedder, Esq.

The following letter from Ex-Chancellor Kent., will be regarded by all as a testimonial of no ordinary value
New York, March 31, 1843.

My Dear Sir; — I signed, with great pleasure, an address to you engrossed on parchment, and
which was shown to me at the Custom House. But this is not enough for me, and I cannot deny
myself the pleasure, of writing a personal and private line to you, to assure you of my great respect
and esteem, and of my regret, that this city is soon to lose the pleasure and benefit of your society.
Your conduct, while Consul in this city, has been so full of urbanity and kindness, so conciliatory
to the interests and feeling of the two Nations, and so distinguished for moderation, integrity, candor and christian charity, zeal and benevolence, that my attachment and affections have been warmly exerted in your favor.

I hope the evening of your life may be serene and happy, and I shall always think of you with the
tenderest regard. Mrs. Kent joins me in the sincerest respect and regard to Mrs Buchanan, and in
the strongest wishes for your welfire.

Yours truly and affectionately,
JAMES KENT.
To James Buchanan, Esq.

1st April, 1813.
Never in the course of my life, my dearly esteemed and venerable friend, did I feel more anxious
to find suitable words to express the feelings of my heart and of my aged wife, for such a testimonial as your note received this day conveys. It is regarded as a truly valuable document to be handed
down to my latest posterity — is one, which all who have the happiness and honor of knowing you,
will bear testimony, such could not be acquired by money nor obtaincd by solicitation.

I bless God, that in his providence, I became known to you, as one whom all men feel honored in
knowing, and that I should have so conducted myself as to be so highly favored by your approval,
while without any affected humility, I feel I come far, far short of the estimate by which you have
viewed my actions. I shall conclude this effort to convey the greatful feelings of my heart, in which
I am joined by my wife, praying that you and your estimable lady, may be blessed with all that is
essential to your present and eternal happiness. With all my family deeply impressed with esteem
and gratitude,

I remain, my dear Sir, your sincerely devoted friend,
JAMES BUCHANAN.
To Chancellor Kent.

The following is the address from the Irish Catholic residents of New York : —
To James Buchanan, Esq. — Sir — Having been informed that the British Government has acceded to your request, and permitted you to retire from the Consulate of this city, the duties annexed to which responsible office you have discharged for a long series of years, with not less fidelity to the government of which you have approved yourself so efficient a representative, than with entire satisfaction to the constituted authorities of this country, renders your retirement a suitable occasion to convey to you an expression of feeling on the part of the Irish residents in this city, to a fellow countryman who has never forgotten the land of his birth, and ever manifested a considerate sympathy for the exiles from Erin in this country, when they had wrongs to redress, or necessities that required relief.

It is, sir, not less gratifying to our feelings to render acceptable to you this unsolicited testimony of regret at your approaching departure from amongst us, than we trust it shall be to your own, to carry with you to your place of retirement an assurance of our most cordial wishes, that the remaining years of your life may be passed in unruffled tranquillity, in that calm and peaceful serenity which a consciousness of the zealous discharge of duty should ever insure to the man who has so well performed his allotted part during a long career of public usefulness.

Wherever you go from hence, we feel assured that in you, Irishmen shall ever find a steadfast friend and among them may you never be without one. Wishing to yourself and every member of your estimable family, health, happiness and prosperity, we have the honor to subscribe ourselves with great respect.
Your assured friends.

My highly esteemed Countrymen:
It is cheering, it is gratifying, and highly consolatory on my departure ,after above a quarter of a century in this city, to be so honored in the address you have presented to me this day. But what renders your highly valued testimonial so grateful to my heart, is the fact of it emanating from gentlemen, many of whom differ with me as to the principles of government. On this occasion, allow me to state, that in my attachment to my countrymen, I stand upon the sole ground of our being the sons of Erin, and it shall be the zealous aim of my few remaining years, to heal the divisions and dissensions which, to our disgrace, prevail among our countrymen in Canada, so as to lead them to cherish brotherly feeling to each other, at the same time as the surest means to promote their prosperity in that highly favored province; to lead them to obey the laws and persevere in that devotion and loyalty which they so signally manifested during the late unhappy rebellion. - the Governor General, Lord Seaton, having declared to me, that owing to the loyal conduct of my countrymen, the Province was saved from much misery and blood shed.

Ever, my dear Countrymen, your grateful and honored humble servant.

At the Anniversary Dinner of St. George's Day, the following tribute was paid to Mr. Buchanan, by the Chairman of the St. George's Benevolent Society :

Mr. Fowler now rose, and with obvious emotion remarked, that as the tribute of respect which, was due to those who are now the representatives of the British government on this continent had been paid, he now asked them to do honor to one who has been, and for a very long period, a faithful servant of the Crown. One of our specially invited guests at this festival is our late Consul, James Buchanan, Esq., and who, with the snows of three score years and ten gathered upon his temples, has lately resigned his official duties, and is about to leave New York, in the enjoyment of the esteem and regard of all who have known him, officially and individually, during a residence of more than a quarter of a century. If that gentleman were not present I should narrate many of his good deeds, of a public and private character; but on his account, and rather than give him uneasiness, I shall refrain, contenting myself with now presenting to him a spontaneous tribute, which has been rendered in consideration of his eminent public services and private worth, by men of all nations, and more especially by the British and American merchants of this city. This address I shall now read to you:

"To Jam. Buchanan Esq. — Sir — As you are about to retire from the duties of the office and are
likely to leave the City of New York, we the undersigned, hereto offer you our best wishes, and desire thus to acknowledge the number of years in which you have fearlessly, indefatigably, and honorably sustained yourself as British Consul: while in private life you have evidenced the proper duties that belong to a husband, parent and friend. Ardently praying for your happiness in your retirement."

Mr Fowler then turned to Mr. Buchanan, and in delivering to him the address, through the medium of Mr Barclay, feelingly remarked — Long, my dear sir, may your life be spared to enjoy this reward; it is one which station alone could not have commanded nor wealth have purchased; but it may serve to fill the measure of public honor and private esteem, due alike to your official and private character. Now fill, gentlemen, to the health and happiness of our Ex-Consul, James Buchanan, Esq.

Mr. Buchanan, deeply affected by the presentation of the address, and cheering which followed, in a feeling manner expressed how greatly it was enhanced by passing to him, on this occasion, through the hand of his highly esteemed successor. When he landed on these shores nearly twenty-seven years ago, he little expected such an outpouring of good-feeling and honours, not only by his fellow-subjects but also by several of the most distinguished of the citizens — (cheers). As his official duties were commended, he would be pardoned in stating that he never anticipated such an approval. He had endeavored to discharge his duty to his Sovereign by maintaining the rights of his fellow-subjects without compromising what was due to his country-(loud cheers). He was bound to express his grateful feelings for the uniform and many acts of kindness he ever experienced, not only from the General and State authorities, but from those of this city, the cultivation of which he deemed of great importance in all official intercourse with them — (great cheering). Those who were fathers and grandfathers could alone enter into his feelings, and duly appreciate the highly prized legacy which would be handed to his posterity by the address, and while written on parchment, yet it was so deeply engravcn on his heart, that he would enjoin upon his numerous children and their posterity ever to cherish a grateful sense of the honor conferred on their father, so that they should ever prove to the signers and their posterity their gratitude — (great cheering). Before he sat down he could not omit observing, in these extraordinary times, that it was cheering to every man connected with England, to witness that when repudiation was so widely, and so ruinously to character, acted on, yet the British merchants stood firm in upholding the moral principle — (loud cheering) While he observed, with proud feeling for the honor of the British character, there were many at this festive board who thus sustained the honor of their country, and among those one who has ever stood prominent through his whole life, need I name your estimable and highly-respected President. I therefore claim the pleasure to give the health of Joseph Fowler — (tremendous cheering).

From the Albion. -The following works have been printed and published by Mr. Buchanan, which
proved that his Consular life has been truly active : —

1819. Letter to Sir Robert Peel as to the prevention of crime, with a proposition as to unfortunate females, abandoned to prostitution in the cities of London, Dublin, and Edinbuigh.

1821. Sketches of Indian Character. This work ran through two editions. Facts are now being collected for a third edition, to be completed in his retirement, in Canada.

1824. Plan for the Melioration and Civilization of the Indians in the British Possessions: addressed to the late Earl Dalhousie.

1824. Project for the formation of an Experimental Depot in Canada, for the Pauper Population of the County of Kent : addressed to the Rt. Hon. Edward Stanly, (now Lord Stanly.)

1828. Report and Observations on the Banking and other Incorporated Institutions of the State of New York. This was the first work of the kind published here, and highly valued.

1828. Opening of the St. Lawrence to the United States Vessels, considered and and recommended to Government.

1832. Report on the State of Crime, and Effects of State Prison Discipline, in the States of New York and Connecticut.

1834. Facts and Observations, addressed to Sir John Colborne, Lieut. Governor of Upper Canada ; pointing out the evil consequent on providing for paupers in health, in a country like Canada, where all who will work are sure of being fed.

1834. Letter to Lord Viscount Dungannon, with a plan to preserve from Contamination and Crime, destitute female children in London, between the ages of eight and twelve. The annual returns show above 15,000 of such females. Her Royal Highness the Duchess of Kent honored Mr. Buchanan with her approval and granted permission such should be called the Royal Victoria Female Sanctuary. He hopes to set this on feet.

1836. Recommending and pointing out the importance of a railroad from Hamilton to Sarnia in Michigan.

1836. Letter to Sir Francis Head, pointing out the means of raising the funds for such railway, by levying from the lands within five miles each side, according to contiguity.

1838. War with England fairly stated; addressed to President Van Buren. Anonymous.

1839. Letter to Governor General Thomson, pointing out the measure of a Federal Union of all the British Provinces in North America. Signed Chatham.

1841. Letter to the Duke of Wellington as to the admission of Grain from all countries upon the same terms as such countries received the Manufactures of England. This work called forth much observation in England — also to reduce the duty on sugar, and replace such reduction by a general income tax.

In order to improve the capacity of the Masters of British vessels, Mr Buchanan, in 1834, submitted a plan to the Ship-owners' Society of London, which called forth the public thanks of that body, and at length the measure has been introduced to Parliament. Various other subjects have been recommended by Mr. Buchanan; and it may be added that the celebrated McCullogh in his Commercial Dictionary names Mr. Buchanan with approbation, for the information which he derived from his reports.

These documents must prove very gratifying to Mr. Buchanan, and we have much satisfaction in giving them publicity. The Commercial, we perceive, has omitted to mention the fact, that Sir John Franklin, when on his expedition to the polar regions, named one of the rivers after the Consul. Capt. Back, if we recollect aright, paid him a similar compliment in one of his expeditions.

It should not be omitted, that among the various pieces of plate presented to Mr. Buchanan, is one from the surviving sisters of the unfortunate Major Andre, as an expression of their gratitude for his patriotic zeal in relation to the removal of their brother's remains from Tappan to Westminster Abbey.

The Buchanan book. The life of Alexander Buchanan, Q.C., of Montreal, followed by an account of the family of Buchanan (1911)
http://www.archive.org/details/buchananbooklife00buchuoft
James Buchanan died at Elmwood, the residence of his son-in-law, Hugh Taylor, advocate, near Montreal, on the 10th October, 1851, in his 80th year, and was buried in the tomb which he had caused to be erected at Drummondville, near the Falls of Niagara. His wife died on the 1st February, 1852, in her 73rd year, at the residence of her daughter, Mrs. Alexander Buchanan, No. 7 Cornwall Terrace, St. Denis Street, Montreal.

On March 13th 1882, the Village of Drummondville was incorporated and become known as the Village of Niagara Falls and William Russell became the first reeve.
http://www.niagarafallsinfo.com/history-item.php?entry_id=1328&current_category_id=194

Drummond Hill Cemetery, Niagara Falls, Ontario, Canada
http://www.niagarafalls.ca/WebLink8/DocView.aspx?id=26093&page=23&dbid=0 ]

Hayward, Gerald Sinclair - portrait of John Gardner Perry

2011-07-01T16:58:00.000-07:00

It is not often that one has the opportunity to acquire a miniature portrait of an important sitter by an important artist of the period. This miniature is signed "G S Hayward 1885" for Gerald Sinclair Hayward (1845-1926), one of few miniature painters active in America in the late 19C.

Hayward was born in Port Hope Ontario, but spent much time in New York and in Britain, Germany, and Russia, where he painted many notables.

There is one other miniature by him in this collection, of a Mrs Osborn, painted in 1922, 37 years later; 20C - American Miniature Portraits: Hayward, Gerald Sinclair ... There is one miniature by him in the Smithsonian.

Archives Canada outlines his career, his mother being;
"Caroline (Bartlett) Hayward (act. 1845/46) the wife of Captain Alfred Hayward. They lived at Ravenscroft between Port Hope and Cobourg and also near Rice Lake, Ontario. She was an artist who is known for her drawings, and prints after her sketches of Rice Lake. She also wrote and published poetry. Two sons, Gerald Sinclair Hayward (1845-1926) and Alfred Frederick William Hayward (1856-1939) were also artists born in Port Hope, Ontario. Her son Gerald Hayward was occupied in railroading and farming during his youth; served with the 10th Royals in the Fenian Raids in 1866; studied painting in England in 1870 where he painted principally as a miniaturist; he married Sophia Cawley, of Jersey; and later lived in New York and Boston with a summer home at Gore's Landing in Ontario 1904-08, where he died in 1926. He also painted watercolours in the Rice Lake district. He exhibited at the Royal Academy in London, and the Royal Scottish Academy in Edinburgh.The exhibition of his miniatures in New York in 1889 is said to have revived interest in the art in the United States. He painted portraits of English royalty and aristocracy and important statesmen in the United States and Canada. His brother Alfred Frederick William emigrated to England in 1875 and remained there except for trips to Canada coinciding with exhibitions. He painted portraits and later flower studies and still lifes and interiors. His wife Edith (active 1866-1929) was also an artist who painted watercolours in the Rice Lake area."

The sitter, the author John Gardner Perry (1840-1926) is equally distinguished in American history. He is identified by a note inside the miniature and by comparison with a photograph of him taken in March 1864 in his Union Army uniform. The note reads "Doctor John Gardner Perry brother of Elizabeth F Bowditch & left to John Perry Bowditch in 1928". The miniature is in good condition, although with minor flaking of his eyes.

A kind visitor has helped me to summarise the career of Dr Perry.
Born – 22 January 1840, Suffolk at Boston, Mass.
Died – 1 December, 1926, Boston, Mass. of coronary sclerosis
His parents were Marshall Sears Perry (1805-1859) and Abby Stimson (1816-1857). He married - Martha Derby Rogers in 1864 [probably in Mass.] Her parents were John Rogers and Sarah Ellen Derby.

Perry was educated at Harvard Medical School, Boston 1863 and became a surgeon in New York in 1863, before enlisting in the army as an assistant surgeon. While in the army he badly broke his leg in a fall from his horse and was told by another surgeon that it needed to be amputated. He said no to the Surgeon and signed his own discharge papers to travel home. When he arrived home, there was no one to set his leg, so he set it himself with the help of his brother in law.

After he had partially recovered and completed his medical degree, he returned to active duty on crutches. On his arrival he was required to be inspected by the surgeon-general, so he hid his crutches under the stairs, and managed with great difficulty to walk across the room without them. Perry was commissioned an officer in Company S, Massachusetts 20th, Infantry Regiment, 14 April 1863 and mustered out, on or about 10 August 1864. A fellow surgeon in the 20th Massachusetts was named Hayward and may have been a relative of G S Hayward.

He returned to medicine after the Civil War and walked on his leg until his death in 1926. The Perry’s lived in Boston at least until 1864 then moved to Manhattan. The 1870 census shows them in New York Ward 21, District 17, New York, New York. There is an entry for a Nellie Perry, age 4, born about 1866 residing with them. I would assume that Nellie was a daughter but there is no other information about her nor does she appear in the 1880 or 1900 census reports.

An Ellen Derby Perry, 6 December 1835 – 22 November 1876, appears as a daughter to John and Martha in a genealogical search of the Salem/Nantucket Gardners and Cousins. A search in Ellen’s name indicates she never married. She does not appear in the 1880 census report. The 1880 census has the Perry’s still living in New York City [Manhattan] and shows four domestics, so he was obviously successful.

John was issued a passport on 11 June 1888, age 48, no photo. There is no record of his travel other than an entry noting his return from Genoa, Italy aboard the liner SS Konig Albert [North German Lloyd Lines] on 20 September 1912. The 1900 census shows them renting a farmhouse at 48 East 34th. Street, Manhattan. John is 60, Martha is 59. The census shows three domestics living with them.

Perry is famous for a book published in 1906, which recounts his experiences during the Civil War, as included in letters to his wife.The full book is available to read at Letters from a Surgeon of the Civil War : John Gardner Perry ... and Read Online

Martha arranged the letters for publication and wrote in the Introduction;
"In a much weather-beaten trunk, which since the Civil War has travelled from one attic to another, have been carefully preserved a pair of shoulder-straps, a silver trefoil (the badge of the Second Corps of the Army of the Potomac), a green military sash, a well-worn workbag, in which is still a big darning-needle with its half-used thread, numerous photographs of officers and localities, and a mass of letters.

From the end of the war until the present time these letters have remained unopened, and as the contents are mixed with much which is personal, it seems best to separate the war news from the rest and preserve it in a connected form which may prove of interest to the general reader.

John G. Perry of Boston, Mass., entered Harvard College in 1858, bearing with him a very youthful attachment; and in the undoubting judgement of youth, he and I, but boy and girl, in light-hearted gayety strolled one evening in the moonlight to consider the unsupportable length of time before living our lives together. First the present college term; then the Medical School and hospital service after, for even in childhood John was called "the little doctor".

How indefinite it all seemed, — how far, and away the future! So we wandered on, regardless of all possible interference in our joy of life, and finally decided with but little, or I may say, No! hesitation, that the college life, then but a few months advanced, must be abandoned and the Scientific School offering shorter terms and collateral studies, adopted — for even then the medical course must follow. This was insurmountable; and thus it was that the plan of action agreed upon by both was taken and earnestly continued until the spring of 1862, when the Government issued a call for volunteer contract assistant surgeons to serve in the military hospitals, to thus avoid detaching the commissioned assistant surgeons, who were needed on the fields of battle, from their respective regiments. The medical student in general belonged to the class best adapted to this service, and as it exactly fitted the needs of this particular one, he made application and was accepted."

There is now glamour associated with the memory and the re-enactments of the Civil War, but Perry's letters reveal the true horrors associated with it. On July 3rd, 1862 he recorded, "A thousand wounded men arrived at the fort tonight, and tomorrow we shall probably have five hundred more. The work is endless."

The horrors were not limited to the battlefield. Martha Perry reports on the New York Riot of July 1863. "The disturbance was due to the draft made necessary by the dearth of volunteers, and also to the fear amongst the Irish that the negroes at the South would come North and crowd them out of their work."

The 1863 riot continued for several days and Martha also wrote of it, "The next day was a fearful one. Men, both colored and white, were murdered within two blocks of us, some being hung to the nearest lamp-post and others shot. An army officer was walking in the street near our house, when a rioter was seen to kneel on the sidewalk, take aim, fire, kill him and coolly start on his way unmolested. ... The next morning's news was that the rioters were murdering the colored people wherever found, and there was no limit to the atrocities committed against them. ... Men and women passed with all sorts of valuables taken from plundered houses. ... At the police station my brother was told that, through one of the detectives who had been working in our street all the morning, they had learned that their station and also our house, with the one opposite, were to be attacked and burned that night, all being in close proximity. The police had been already plundered of most of their firearms, and needed all their force to defend themselves. They could do literally nothing for us, but recommended barricading the front entrance to the house as best we could."

Perry's letters are recommended to visitors here, with his style easy to read. 1428

Deming, Charlotte - portraits of a husband and wife

2011-06-13T21:49:00.000-07:00

The pair of miniature portraits acquired recently, and showing here, are examples by a rarely encountered American female artist, Charlotte Deming, (Aka Charlotte Denning, as there has been confusion over her name.) However, the pair are both clearly signed "C Deming 1830" on the reverse, so it is possible to confirm the spelling of her name.

The pair were housed in simple wooden frames, of 19C style, but the frames are probably no more than 20 years old, with the other writing on the reverse appearing to be framing instructions. The condition of the miniatures is less than ideal, with warping and stress fractures, caused by the ivory being stuck onto card. As ivory dries, it shrinks across the grain, whereas the card does not. Hence leading to stress fractures.

However, as signed examples by Charlotte Deming are very rare, especially as a pair, the miniatures are a welcome addition to the collection. Little is known about her. Blattel notes that she worked in New York and was active from 1833-1874. She also exhibited at the National Academy of Design. The date of these two miniatures extends that period a little earlier. Being early works, one might expect that later paintings will have less of a folk-art look.

In 1834, Dunlap records her under the heading; "Painters of whom my limits will not permit a more detailed notice, or who have refused information, or, lastly, have passed into obscurity". It is not clear which category she falls into, perhaps the first, but Dunlap notes; "Miss Charlotte Denning [sic] miniature painter of Plattsburg".

That at least provides a start point. Ellet also says in 1859 "Miss Charlotte Denning [sic] of Plattsburgh is spoken of as a clever miniature painter". There appears to be this portrait by her in Canada "Charlotte Deming, John Fletcher, 1845, aquarelle sur ivoire, 10,7 * 8,7 cm, Ottawa, Bibliothèque et Archives". She is also described as an itinerant artist, which suggests she was perhaps a spinster or a widow who needed to earn a living.

To be fair, it is hard to see any similarity of style between the examples showing here, but they are from quite different time periods and thus show how an artist's style can change.

And Skinners sold this; "Portrait Miniature of a Young Child wearing a Purple Dress Holding a Rattle, attributed to Charlotte Deming, (American, 19th Century), signed "Miss CO Deming" u.l., watercolor on ivory showing a half-length portrait of the ginger-haired child, 3 x 2 3/8 in., mounted in a red leather hinged case with gilt brass mat. Condition: Very good. Estimate $1000-$1500. Sold for $2700"

There was a Charlotte Deming who was born 18 October 1808 and died 23 December 1887, perhaps sister of George 10 Sept 1806-21 Apr 1860 and Charles 8 Dec 1812-19 Nov 1813. They appear to have been children of Lemuel Deming 9 Jul 1782-12 March 1841 and Clarissa Thompson (17 April 1785-1 Oct 1870) of Wethersfield, Hartford, CT. She reportedly married George Gabriel in New Haven 8 September 1826.

A Charlotte Deming of Wethersfield was born Oct 12, 1805 in Savoy, MA and married Daniel Hoxie on July 5, 1828. Another Charlotte Deming was born c1793 the daughter of George and Phoebe Deming. She appears not to be the Charlotte Deming of Litchfield CT who married James Humphrey born 3 Dec 1837. There was a Colonel Henry C Deming who spoke at a convention of "Deaf Mute Instructors" along with the noted deaf mute miniature artist John Carlin MA, probably in 1866, which provides a possible connection.

She may be related to Adelaide Deming (1864-1956), an artist and educator whose interest in her town's past provided subjects for many of her paintings. She was a descendant of a prominent Litchfield family of the post-Revolutionary War period, and a nationally known landscape painter.

At this stage, from a geographic point of view, the most likely Charlotte Deming seems perhaps to be the one born 28/29 October 1810 in either Onondaga or Suffolk County, NY, as daughter of David Deming and Elizabeth Ann Curtis. According to the IGI she married George Poulton about 1830. That location being the closest to Plattsburgh, NY. It is noticeable that the two signatures are slightly different in style, as if written at different times. It may not be too fanciful to suggest that the miniatures are a self-portrait of Charlotte painted shortly before her 1830 wedding, together with one of her husband for their 1830 wedding, to make a marriage pair.

Her face is looking direct at the artist, as would be expected for a self-portrait painted looking into a mirror, whereas the man looks to one side. Having signed as C Deming, she may then have continued to use that name for her paintings even after her marriage. As Dunlap refers to her as Miss Deming, it would seem that Deming was not her married name. However, any new information would be gratefully received. 1419a/b

Unknown French artist - Unknown man of circa 1807

2011-06-13T17:33:00.000-07:00

At first glance this is another miniature portrait of an unknown man by an unknown artist, and thus of lesser interest, even though the artist is very competent. When purchased the miniature had dark water staining at the left and upper right, and both the front and rear glasses were missing. Hence the condition was generally poor. Some minor restoration has been undertaken and temporary "glasses" of PVC plastic have been cut to an appropriate size.

The interest is more in the case. I have previously opined that the Embargo Act was a major factor in the development of American case making, even though some American experts have doubted that view. I hold to that opinion and have provided here more images of this miniature than usual, to illustrate the reasons for that opinion. Those interested should also read an earlier post at 2008 - Additions and Comment: Case study - The Embargo Act of 1807 ...

I sought opinions of two experts about the case for this miniature.

An expert based in Europe said; "This miniature is probably done by a French miniature painter that has emigrated to the States. The frame is definitely not French but looks American to me, whereas the miniature is evidently done in the French technique."

Whereas an expert based in America said; "The frame is continental...no ifs, ands or buts. I have handled well over 200 european miniatures in similar cases. The fact that it is missing the rear lens is due to mishandling, probably when someone opened the case at the time the water damage ocurred or even just dropping the case. This was not a cheap case when new and it would have been brightly gilt over base metal. The large rear compartment meant complex hairwork and probably cut gold initials. The simple truth is that I have never seen a miniature that could be provably painted in the US that was cased in this type of frame."

I do value the advice and knowledge of both these experts, who know far more about miniatures than I do! However, it would be hard to get two more contrasting opinions. Hence, I am left to arrive at a decision as to when and where the case was made.

While accepting that some American case makers did continue to make high quality cases throughout the period 1807-1817, and hoping not to upset the American expert too much, I feel I have to go with the European expert and say that in my opinion it was most likely made in America during the Embargo Act period. Having said that I need to justify my opinion.

Firstly, the artist is European, and most likely French. The key to this is the background done in gouache rather than watercolour. He (she) was competent as an artist. French artists working in America around this time had fled from the upheavals in France. They included Adolph Ulrich Wertmuller, Philippe Abraham Petticolas, Pierre Henri, P R Vallee, de Clorivere, de Guiran, Belzons, Binsse, Collas, and Gimbrede. I do not think the miniature is by any of these artists, but it was from seeing works by artists such as these that encouraged local artistic talent to emerge.

The work of such competent artists would be normally housed in expensive fitted casework. But if we look at the ivory, there are straight top and bottom edges, which are not both concealed when housed in the case. Hence, for some reason when it was framed a proper case of the proper size was not available. There was no reason for this to happen in France or Britain, but there was in America during the period of the Embargo Act when trade with Europe was so restricted, some towns in NE USA were close to starvation.

I think the reason that the ivory does not fill the case, is that the size of the case itself was determined by the size of an available front glass. It was easier to make a case to fit an available glass, than grind the glass down to size. Hence, the case ended up being a little too large for the miniature.

This view is supported in that the ivory is painted right to the edges, so as to fill the maximum viewing space under the glass. If a case of the correct size had been available the ivory would have been still painted to the edges, but would not have needed to retain a straight top and bottom edge.

While not always in 100% of instances, a common characteristic of American made cases is a front opening bezel. I am not sure why this developed, but as a guess I would say it made it easier to manufacture a fitting case with the relatively lesser skills and materials available in early 19C America, compared to Britain. Especially during the time of the Embargo Act! This miniature case has a front opening bezel.

In addition, a front opening bezel made it easier to open and restore a miniature where there was water damage, or if the owner (perhaps female?) wanted to be shown with a different hairstyle. A number of miniatures of 1815-1830 can be found with an apparent halo around the sitter's head, a clear sign that the hairstyle depicted has been altered to reflect changing fashions!

Around 1800-1805 some British cases began to be held together with four pins, but those tended to have flat side panels, whereas this miniature has a curved side panel held together with four pins (two showing). The hanger is also very simple, apparently original, and small in design, unlike European hangers.

In my opinion the American design of case grew out of the impact of the Embargo Act. Probably with the first cases made after about 1807, as with this one, copied from prevailing British designs as had been recently imported, but with alterations made to suit whatever locally available materials and glass sizes could be obtained. I refer to these as "make-do" cases and my other post shows a number of examples.

The disruption to trade leading to the War of 1812, meant that fewer miniatures were painted 1807-1817 and there was a diversity of casework, as various styles of cases were tried. Although the front opening bezel did help as a means to keep cases together, the rear glasses are often missing from American miniatures of 1807-1840.

An unfortunate side effect of these make-do cases is that a high proportion of American miniatures from 1805-1820 have been re-framed. A far higher proportion have been rehoused compared to British made miniatures of the period. This can be demonstrated by referring to the Metropolitan Museum catalogue. In the Met catalogue among others, see 74, 121 (a make-do case), 126 (a make-do case), 129, 130, 131, 133, 148, 149, 151, 152, 156,158, 159, 165, also 187, 189, 190, 191, 193 and etc. which do not have their original frames, implying failure of the early cases.

A recent sale on eBay which was housed in one of these early cases, probably made around 1820, is shown here. This miniature attracted a premium on sale as it is clearly by an American artist and may even be attributable to a specific artist. Primitive or folk-art type American artists are often more popular than traditional artists, perhaps because those styles are distinctively American. The case has a front beaded bezel and original glass, and the rear aperture also is present and original. These are expensive to replace.

I have heard of dealers who rehouse American miniatures of this period, where there are incomplete make-do cases with missing parts, into newer cases, or instead use British cases from lower value miniatures of the period, to enhance the visual appeal and hence justify a higher selling price. This used to be a common practice in Europe, with one example being the Hapsburg Collection at the Albertina in Vienna, where all 580 miniatures are now housed in identical cases, but the case-making history of many of the miniatures has been lost.

I cannot condone this, as the history of case-making in America and elsewhere is an important and overlooked aspect of miniature portrait history which far deserves more research. (In fact, it is an opportunity for someone, as at present it is effectively completely unresearched!) I therefore implore collectors of American miniatures in particular, to tell dealers when purchasing that they want American miniatures of the period to remain in their original cases, so that future study will remain possible. 1420

Vanderlyn, John - portrait of Mrs John Sanders van Rensselaer

2011-05-16T22:19:00.000-07:00

The miniature portrait depicted here is still being researched, but the detective work involved has been quite fascinating and shows the great benefit from learning the name of a sitter. It was advertised as;

Attributed to John Vanderlyn (1811-1819) - Miniature framed portrait of Mrs. John Von Reumelear [sic] as noted on back of frame along with handwriting that matches that of John Vanderlyn and dated 181? - so this portrait was painted between 1810 and 1819 (during the time John Vanderlyn was working in Paris). This painting has not been formally authenticated but is attributed to John Vanderlyn and is done in his style and quality (handwriting on back matches John Vanderlyn's handwriting as depicted in other records). A rare find!

The vendor provided the handwriting link before the close of the auction, but a comparison with the writing on the reverse was not convincing. On the face of it, the style looks French, as does the frame, and it was suggested it was painted in France. Hence it was initially difficult to be confident that it could be classified as American. The rest of the information given by the vendor was helpful, but also a bit off-putting, which seems to have discouraged collectors of American miniatures from bidding.

However, the importance of writing on the reverse was revealed, as it was possible to work out that the writing was in English. Then that Mrs John Von Reumelear in fact read Mrs John S van Rensselaer. The van Rensselaer family was one of the wealthiest families in New York and is still well known.

Some Internet research then revealed that the wife of John Sanders van Rensselaer was Ann Dunkin, which fitted with the name written at the top which had previously seemed illegible. One word of the top inscription is still illegible, but the following can be read; "Ann Dunkin - wife of - John S van Rensselaer - Learnt (?L ent?) by Mrs John S v......... 181." and then what looks like the top of an exhibition label; "Artist - John Vanderlyn - Title Mrs John van Rensselaer". Presumably the bottom of the label recorded the owner.

The ancestors of Ann Dunkin and her husband
Ann Dunkin was born c1795, the daughter and only child of Robert Henry Dunkin (13 Dec 1769-26 July 1808) and Elizabeth Watkins who were married in New York at Trinity Church Parish on 20 December 1792. According to the Annals of Albany, Ann died on 8 April 1845. Ann's father appears to have attended the University of Pennsylvania in 1784 and was a member of the Philadelphia Bar, admitted to practice in 1791. He was later a Notary Public in Philadelphia. Ann's grandmother was born in Coleraine, Ireland, on June 4, 1740. Her father, was John Henry, b. in 1700, who was a prominent merchant in Coleraine. They were also owners of three merchant ships engaged in visiting northern seaports and Dublin, and carrying emigrants to America. John Henry married Ann Hamilton, daughter of Gadson Hamilton, of Coleraine. She was born in 1700 and they had at least three children: Samuel, Hugh, and Ann who married Robert Dunkin. Ann emigrated to America with her brother, Hugh Henry, who left Londonderry Oct. 22, 1765, on the packet ship Jupiter, commanded by his uncle, Captain Hamilton, and arriving in Philadelphia, Dec. 9, 1765. Reputedly, Mrs Ann Dunkin brought a great amount of family plate from Ireland and lived in great elegance. While living in Philadelphia, she is said to have entertained George Washington and other noted persons. She died June 20, 1832, and was buried in the burying ground of the old Pine Street Presbyterian Church in Philadelphia.

Young Ann Dunkin's husband, General John Sanders van Rensselaer (1792-1868) was part of a large and very wealthy family, his father being Kiliaen K. Van Rensselaer (1763-1848) and his grandfather being Colonel Kiliaen van Rensselaer (1717-1781). His obituary recorded;
In the death of General John S. Van Rensselaer, Albany loses a citizen who has been conspicuous in its society during a long life-time — a representative of one of the old Dutch families that founded our city and state. His father, Kiilian K. Van Rensselaer, represented this county for five terms in the house of representatives. Three of his uncles served in the Revolutionary war. Nicholas Van Rensselaer was an aid to Schuyler, Philip was quartermaster, and Henry K., colonel. Gen John S, just deceased, though a young man, not yet of age, served in the War of 1812 as aid on the staff of Gen. Brown, and rendered some valuable services. His identification with this period of our national history made him in later years the representative and champion of the surviving veterans when their chums for services came before the country. He was military secretary and confidential aid of Gov. De Witt Clinton during his administration. He was educated to the bar, and was appointed judge of the county, but he did not closely pursue the profession of the law. For a while he edited the Albany Daily Advertiser, an influential paper; and took a prominent part in the political struggles of the day. But he was never led by party attachment to forget his obligations to the country. He was a warm-hearted patriot, and loved the constitution and government of his fathers, and dreaded the perils to which they were exposed, and allied himself to those who defended them. He was a public-spirited citizen, and warmly identified himself with whatever would add to the fame or progress of Albany. He had in his composition none of the phlegm, which is supposed to characterize the people of Holland; but was remarkable for vivacity of expression and manner, and a generous impulsiveness. His well-stored mind, and his wide communion with men and active participation in events, made his conversation as instructive as agreeable. And he retained to the close of his life the animation, and joyous and gallant spirit of his youth.

More research revealed that the family is well documented in a book titled, "Annals of the Van Rensselaers in the United States, especially as they relate to the family of Killian K. Van Rensselaer ". This book was written by a son of the sitter, Maunsell van Rensselaer (1819-1900).

It is rare to find such detailed information about a sitter in a miniature portrait, as Maunsell records in the book;
An allusion in the previous letter explains how my father became acquainted with my mother. His favorite cousin, Catharine Sanders, had married Mr. Gerard Beekman of New York, and her sister-in-law, Mrs James Beekman, had a beautiful niece named Ann Dunkin. She was the only daughter of Robert Henry Dunkin of Philadelphia, and Elizabeth, daughter of John Watkins of Harlem Heights. Her father was dead, and, although her home was in Philadelphia, where her grandmother, Mrs Ann Dunkin, resided, she spent much of her time with her grandmother, Mrs Watkins, at Harlem, and with her great-aunt at the same place, the widow of Lieutenant-General Maunsell.

Her aunt Beekman lived near them in " The Vale " under " Breakneck Hill," before Mr Beekman succeeded to " The Mount." The circle of relatives and neighbors was large, embracing the Watkinses, the Bradhursts, the Schieffelins, the Hamiltons, the Moores, the Clarks and others who have passed away. The intercourse between the country and the city was frequent, and during one of his visits to his cousin in town the acquaintance was formed which ripened into an attachment and engagement, which gave great satisfaction to the kindred on both sides. My mother was a great favorite with all for her amiable disposition and engaging qualities.

Being the only granddaughter of Mrs Ann Dunkin, after whom she had been named, she was especially cherished by her, and had been given the best advantages which her native city, Philadelphia, afforded — and they were not small even at that day — including instruction in the mysteries of the housewife and the arts of the pastry-cook. She wrote a remarkable distinct and lady-like hand, and her letters were models of clearness, sincerity and good sense. In these qualities they reflected her own character; she was so sincere and guileless that she could not understand insincerity in others; and she was so filled with goodwill and kindliness to all that she could not appreciate the malice and ill-will of some.

They were married in Philadelphia, March 12, 1816, and took up their residence in Albany in a two-story house on the north side of Washington street between Hawk and Swan streets, where their first child was born August 1, 1817, and christened Dunkin Henry, causing great joy in all the branches of the family, and awakening a wide-spread interest amongst their numerous friends.

There was ultimately a large family, of whom descendants must still be alive today. Maunsell also describes Ann's grandmother, Mrs Ann Dunkin (1759-5 June 1852) ;
Mrs Ann Dunkin, in Philadelphia, was the widow of Lieutenant Robert Dunkin of the British navy, who had died on service in 1776, leaving her with two sons [John, died 1790 and Robert Henry]. His brother, Sir William Dunkin, [of Clogher] was one of the justices of the King's bench at Calcutta, and corresponded frequently with his nephew, my grandfather. She was a woman of remarkable character and intelligence, filled with Irish humor and vivacity, goodness and kindness, an earnest Christian, without cant, and passionately fond of her granddaughter and her children.

Grandmother, Mrs Ann Dunkin
It is likely that Robert Dunkin and Sir William Dunkin were born in Bengal, India in around 1737.

Showing here is the front door of the house of Mrs Ann Dunkin in Philadelphia. As will be shown below, it is very likely that the house was purchased with her late husband's prize money, as a British naval officer on HMS Milford, earned from capturing American ships during the War of Independence. Her purchase record is likely as follows; [D#20-476: Sheriff Deed. William Will, Sheriff for City and Co. of Philadelphia, to Ann Dunkin, goods and chattels of John Galloway decd, building and lot on 2nd Street, etc., sold per mortgage (heirs not named), sold on 7 Nov. 1783 to Ann Dunkin, widow, the highest bidder, for 1,420 pounds. Rec. 4 April 1789. (FHL film 21,916)] It seems likely that Mrs Ann Dunkin later decided to sell the house in 1817 as her only heir, young Ann Dunkin, had married in 1816 and moved to live in Albany. It was at 225 South Eighth Street and it is still there, currently understood to be a boutique hotel, Morris House Hotel. The house was described in the early 20C as;

By far the handsomest old city residence of brick that remains in anything like its original condition is the so-called Morris house at Number 225 South Eighth Street between Walnut and Spruce streets. Although not built until very shortly after the struggle for American independence had been won, it is pre-Revolutionary in character and Colonial in style throughout. In elegance and distinction the façade is unexcelled in early American city architecture. Unlike most houses of the time and locality, it has a double front with two windows each side of a central doorway, a range of five windows on the second and third floors and three simple dormers in the gable roof above. The windows have twelve-paned upper and lower sashes with paneled shutters on the first and second stories, and foreshortened eight-paned upper and lower sashes without shutters on the third story.

The brickwork is of characteristic Flemish bond with alternating red stretcher and black header bricks. Two slightly projecting courses, two courses apart, form horizontal belts at the second-and third-floor levels, while the first thirteen courses above the sidewalk level project somewhat beyond the wall above and are laid up in running bond, every sixth course being a tie course of headers. Beautifully tooled, light stone lintels with fine-scale radial scorings greatly enhance the beauty of the fenestration. Each lintel appears to consist of seven gauged or keyed pieces each, but is in reality a single stone, the effect being secured by deep scorings. A heavy molded cornice and handsome gutter spouts complete the decorative features apart from the chaste pedimental doorway with its fluted pilasters and dainty fanlight, which is mentioned again in another chapter. A rolling way and areaways at the basement windows pierce the wall at the sidewalk level after the manner of the time. Indoors, the hall extends entirely through the house to a door in the rear opening upon a box-bordered garden with rose trees and old-fashioned flowers. There is a parlor on the right of the hall and a library on the left. Back of the latter is the dining room, while the kitchen and service portion of the house are located in an L extension to the rear.

As indicated by two marble date stones set in the third-story front wall just below the cornice, this house was begun in 1786 and finished in 1787 by John Reynolds. Some years later it was purchased at a sheriff's sale by Ann Dunkin, who sold it in 1817 to Luke Wistar Morris, the son of Captain Samuel Morris [probably a relation of Mrs Dunkin's sister-in-law, Phoebe Morris]. Since that time it has remained in the Morris family, and its occupants have maintained it in splendid condition. Much beautiful old furniture, silver and china adorn the interior, most of the pieces having individual histories of interest; in fact, the place has become a veritable museum of Morris and Wistar heirlooms.

The Newark Museum has very kindly consented to the display here of a miniature in its collection, of Mrs Ann Dunkin by Robert Fulton (1765-1815). The museum notes that "our Fulton/Dunkin was clearly painted in a gold setting, later set into a wooden frame". The miniature dates to c1786 and the similarity of style of the miniature itself, especially the pose, nose, and mouth, with a Fulton miniature in this collection of an unknown man still in its original setting, is apparent.1104

Mrs Ann Dunkin is a good illustration of how families were disrupted by the War of Independence. Her brother, Hugh Henry, in 1767, two years after his arrival in Philadelphia, was an elder in the First Presbyterian Church, and on May 4, 1769, he married Phoebe Morris, daughter of Robert Morris, a Philadelphia Quaker, and sister of the Robert Morris, who was afterward financier of the American Revolution. He took the Oath of Fidelity Sept. 21, 1777. In contrast the husband of Mrs Ann Dunkin was a serving officer in the British navy.

Prize money
Further research suggested that Lieutenant Dunkin had become wealthy from prize money earned while serving in the Navy. His ship was HMS Milford a 28-gun sixth rate launched in 1759 and sold in 1785. The 1781 rules for division of prize money were set down in detail, see Distribution of Prize Money In summary the relevant regulations provided;
We have ordered that the General Reprizals be granted ... so that as well Our Fleet and ships, as also all other Ships and Vessels that shall be commissioned ... may lawfully seize all Ships, Vessels, and Goods, belonging to the States General of the United Provinces, or their Subjects ... and bring the same to Judgment in any of Our Courts of Admiralty within Our Dominion: We, being desirous to give due Encouragement to all Our faithful Subjects who shall lawfully seize the same... do now make known to all Our loving Subjects, and all others whom it may concern ... We do hereby further order and direct, that the Neat Produce of all Prizes which are or shall be taken by any of Our Ships or Vessels of War, shall be for the entire Benefit and Encouragement of Our Flag Officers, Captains, Commanders, and other Commissioned Officers in Our Pay, and of the Seamen, Marines, and Soldiers, on Board Our said Ships and Vessels at the Time of the Capture; and that such Prizes may be lawfully sold and disposed of by them and their Agents. ... The Distribution shall be made as follows ; the Whole of the Neat Produce being first divided into Eight equal Parts.

Lieutenant Dunkin did very well out of this prize money, as the division was that; the Captain shall have Three Eighth Parts. and the Sea Lieutenants shall have One Eighth part, to be equally divided amongst them. Prize money being earned through the following incidents, recording captures of American vessels named A-D and H-I by the Milford, presumably representative of a much longer list of captures by the Milford from A-Z!

Beggars Benison, PA/MD schooner, LM, 4 guns 17 men, Capt Samuel Smallcorn, Jun 1777, captured by British Milford.
Bella, British vessel, Capt Smith, from Halifax to Port Medway and Liverpool, cut out of Port Medway by an American privateer, 20 Sep 1776. British vessel, Capt Smith, Halifax to Liverpool, taken by Americans and retaken by British Milford, 26 Mar 1777.
Betsey, schooner, Capt Ross, captured by Milford, 4 Dec 1777. Probably the reported British sloop captured in early 1778 by the CT state schooner Mifflin, Capt John Kerr.
Betsey, American sloop captured in 1777 by British Milford.
Britania, approved by MA General Assembly for fitting out 3 June 1776, sloop of this name captured by British Milford, 2 Oct 1776.
Britannia, American sloop captured off Cape Ann about 23 Apr 1776 13 Jul 1776 by the HMS Milford and sent to Halifax.
Cabot, 14 guns, 80 men, 1775-77. Continental brig assigned to the New Providence Expedition, Capt Elisha Hinman, Nov 1776, with 90 seamen and 43 Marines, other captains were John B. Hopkins, and Joseph Olney. Participated in attack on HMS Glasgow, a 14 gun brig. Capt Joseph Olney, was captured by the British Milford, Capt John Burr, on 23 Mar 1777, sent to Halifax, and the Cabot converted into Royal Navy use. The British renamed it the HM Cabot.
Carolina. British vessel, Capt Dennis, Jamaica to London, captured by Americans in 1776 but recaptured by the British Milford.
Crawford. American brig captured by HMS Milford, 4 Apr 1776.
Diana. British transport, Capt Brown, from London (to Halifax), taken by Americans, and retaken by British Milford, 2 Oct 1776.
Dolphin. MA privateer schooner, 10 guns, 60 men, under Edward Fettyplace, Jr from 26 May 1777, captured by British Milford. It captured British vessels Diana, Edward, Fanny, Salisbury, Wilson, and helped capture the Betsey, before it was itself captured by the Milford, on the coast of Nova Scotia, 4 Oct 1777. Crewmen are listed in MAS. Owners were Samuel R. Gerry and others of Marblehead.
Halifax, British brigantine, Capt Richard Hinckly, captured by the privateer schooner General Putnam but later retaken by the British. This may be the American prize recaptured by the British Milford in 1776.
Hepsibeth, American sloop, Capt Swain, captured by Br Milford, 14 Jul 1777. Another account indicates Capt Barzillai Swain of the sloop Elizabeth, was captured 3 Aug 1777. This may be the same sloop.
Industry, brigantine bound for St Lucas, master Arthur McClelan, captured 4 Dec 1777. American brig, captured by Milford.

The Retrieve was also captured by the Milford. A detailed account of the circumstances of the time, and of yet another prize ship taken by the Milford, named the Yankee Hero, is reported as follows;

Under the encouragement of acts passed by the Continental Congress and the various provincial assemblies, privateering flourished during 1776, although it came very far from assuming the proportions that it attained in later years. Only thirty-four private commissions were issued under the authority of the Continental government, but probably a much larger number of privateers were sent out by the separate states. Vessels of this class cruised at sea, along the Atlantic coast, and in West Indian and European waters. The privateersmen were commonly successful, but first and last a good many of them fell into the hands of the enemy.

Captain James Tracy was unfortunate enough to fall in with a British frigate, mistaking her for a merchantman. Tracy sailed from Newburyport, June 7, in the brig Yankee Hero, carrying twelve guns and twenty-six men, including officers. He expected to get more men at Boston. Off Cape Ann the captain sighted a sail which he determined to chase, and here he received a reinforcement of fourteen men who came out from the shore in boats; with forty, he still had only a third of his complement. Tracy then bore away for the sail, which was five leagues distant, to the east-southeast; when too late he discovered the chase to be a man-of-war. He now put about for the shore with the ship, which turned out to be the frigate Milford, in pursuit. The wind, which had been westerly, died away, and in an hour and a half the frigate, having taken a fresh breeze from the south, was within half a mile and began to fire her bow chasers. The wind shifted to the west again. Tracy reserved his fire until the enemy should be within close range. She soon came up on the Yankee Hero's lee quarter within pistol-shot and the unequal contest became warm. The account of the affair was "chiefly collected from those who were in the engagement." "After some time the ship hauled her wind so close, which obliged the brig to do the same, that Capt. Tracy was unable to fight his lee guns; upon this he backed under her stern, but the ship, which sailed much faster and worked as quick, had the advantage and brought her broadside again upon him, which he could not evade, and in this manner they lay not an hundred feet from each other yawing to and fro for an hour and twenty minutes, the privateer's men valiantly maintaining their quarters against such a superior force. About this time the ship's foremast guns beginning to slack fire, Capt. Tracy tacked under his stern and when clear of the smoke and fire, perceived his rigging to be most shockingly cut, yards flying about without braces, some of his principal sails shot to rags and half of his men to appearance dying and wounded." The first lieutenant was among the wounded. The frigate having sheared off there was a short lull, during which the wounded were carried below and the crew began to repair the rigging. They were getting nearer shore and Tracy hoped to be able to escape. Before things could be put to rights, however, the frigate "again came up and renewed the attack, which obliged Capt. Tracy to have recourse to his guns again, though he still kept some hands aloft to his rigging, but before the brig had again fired two broadsides, Captain Tracy received a wound in his right thigh and in a few minutes he could not stand; he laid himself over the arm chest and barricadoe, determined to keep up the fire, but in a short time, from pain and loss of blood, he was unable to command, growing faint, and they helped him below. As soon as he came to, he found his flring had ceased and his people round him wounded, not having a surgeon with them, in a most distressed situation, most of them groaning and some expiring. Struck severely with such a spectacle, Capt. Tracy ordered his people to take him up in a chair upon the quarter deck and resolved again to attack the ship, which was all this time keeping up her fire; but after getting into the air, he was so faint that he was for some time unable to speak and finding no alternative but they must be taken or sunk, for the sake of the brave men that remained he ordered them to strike to the ship." (Mass. Spy, September 11, 1776.) The action lasted over two hours and the Yankee Hero lost four killed and thirteen wounded. On the Milford were thirty American prisoners who had been impressed and were forced to fight against their countrymen. The frigate took her prize to Halifax (Ibid., June 21, September 11, 1776; Am. Arch., IV, vi, 746-749; Mil. and Nav. Mag. of U. S., May, 1835.)

As a result of this, on September 21 the Marine Committee directed that the frigates Boston, Captain Hector McNeill, and Raleigh, Captain Thomas Thompson, should be fitted out as expeditiously as possible, and these vessels were ordered to cruise in Massachusetts Bay and to the eastward, in search of the British frigate Milford. For one reason or another, however, chiefly, no doubt, the difficulty of manning the ships and the British blockade, no Continental frigate got to sea in 1776, and the Milford continued taking prizes.

The Alfred, as chased by HMS Milford

It seems likely that Lieutenant Dunkin was on board the Milford during this action. Dunkin was likely still on board in an incident where the American naval officer John Paul Jones onboard Alfred was almost captured by the Milford;
It was on 27 October 1776, with Captain John Paul Jones now in command, that Alfred shipped anchor and set a northerly course in company with the sloop Providence, twelve guns, Captain Hoysteed Hacker. Jones's mission was multipurposed. His orders directed him to Cape Breton Island to free American prisoners who, reportedly, were being forced to work the coal mines at Spanish Bay (near modern Sydney, Nova Scotia) and to interfere as much as possible with the coal shipments to the city of New York, which had recently fallen to the British. He was also to keep a lookout for Quebec-bound British supply ships and to take every opportunity to harass the Newfoundland fishery. By mid-November Captain Jones had reached the southern coast of Cape Breton Island, where he took three prizes, one of them the 350-ton Mellish loaded with winter clothing for the British troops in Canada. Soon thereafter, the crew of Providence induced the not unwilling Captain Hacker to return home. Captain Jones and his crew sailed on alone in Alfred. He sent some boats into the harbor of Canso, Nova Scotia, where his men burned another supply ship and a whale oil warehouse. Off Louisbourg he took, in a stroke of good fortune, three colliers from Spanish Bay. From the captured crews he learned that the American seamen-turned-miners had bought their freedom by joining the Royal Navy and, more importantly, that at least three British warships were in the area looking for him. Wisely turning home, Jones paused to take another prize and was almost taken himself. HMS Milford, twenty-eight guns, chased Alfred (20 x 9-pounder guns and 10 x 6-pounder guns) for about four hours, but Jones drove ship and sailors hard and well and managed to escape.

One of the first engagements of the Marines involved the Milford;
It wasn't until the year 1777 that the Marines entirely appeared in uniform in numbers. Though legend attributes the green color to the traditional color of riflemen, Continental Marines mostly carried muskets. More likely, green cloth was simply plentiful in Philadelphia, and it served to distinguish Marines from the blue of the Army and Navy or the red of the British. Also, Sam Nicholas's hunting club wore green uniforms, hence his recommendation was for green.

The Continental sailors and Marines aboard Providence sailed north to Canada toward Nova Scotia. By 22 September, the sailors and Marines reached Canso Harbor and recaptured the small port. The following next day, they struck Isle Madame destroying fishing boats. On 27 September while fishing, Providence, became under surprise attack from the British frigate HMS Milford. Although surprised, the smaller American ship managed to escape in a day of expert sailing.

Not surprisingly, the various actions of the Milford made things difficult for Lieutenant Dunkin's widow, Ann, in the aftermath of the War of Independence, when she wanted to visit New York in 1780.
The Petition of Ann Dunkin, of this City, Widow of Robert Dunkin, late a Lieutenant on Board the Milford Ship of War belonging to the King of Great Britain, praying leave to go into New York to obtain her half pay, was read; and on consideration the said Petition was unanimously rejected.

But this sounds very like a subterfuge on the part of Mrs Ann Dunkin. Permission was required to travel to New York in 1780, as the British occupied the city from September 1776 to late 1783. Rather than going to collect her widow's half-pay, which would have been minimal compared to the cost of the trip, it seems more likely that the real reason she wanted to go to New York, was to collect from the British authorities a share of the prize money which was still owing to her late husband.

There is reference to a Lieutenant Dunkin in navy records until 1775, but not after that date. This is explained by a reference to; "The Parents of Robert Henry Dunkin were Capt. Robert Dunkin of the British Navy (lost with his ship off the Coast of Nova Scotia)[perhaps while commanding a prize vessel?] and his wife Ann Henry, who was born June 4, 1740 at Coleraine, County Derry, Ireland. She died June 20, 1832, in Philadelphia where she is buried. The Dunkin China, owned by the Sill family, bears the Dunkin Arms, the crest being a ship." An example of a teapot in the Reeves Center Collection, from the china service of Robert Henry Dunkin is showing and is described as Qianlong c1790. It has the motto Disce Parti. The arms and ship crest are those of the Duncan family of Gallorford, Seaside, and Darnside, descendants of the Duncans of Lundie. The connection between Robert Henry Dunkin and the Duncans of Scotland remains uncertain.

In 1818 Mrs Ann Dunkin sat for a portrait to Sully, one of the most celebrated of the Philadelphia school of artists, holding the dear little babe, Dunkin Henry, in her lap, but the little boy dying not long afterwards. That portrait was then in Maunsell's, possession and he said; "The likenesses are speaking, that of the child having re-appeared in some of the grandchildren".

The death of Mrs Ann Dunkin occasioned a family dispute, as outlined in a Pennsylvania court report of c1859.
APPEAL from the Orphans Court of Philadelphia. In 1832 Mrs Ann Dunkin, of Philadelphia, died, leaving a will dated 20th July, 1831, wherein she devised all her estate to her executors, in trust, after payment of debts to receive the dividends and income thereof, and divide the same "into two equal parts, and pay one of said equal parts to her granddaughter, Ann, wife of John S Van Rensselaer, for her own sole and separate use notwithstanding her coverture;" and the other half to the children of the said Ann, who was her sole heir. Of the said estate, $8208 consisted of corporation stocks and other personal property, and Mrs Van Rensselaer having died, her husband administered on her estate, and filed his petition to have the half part that was held in trust, for her transferred to him; and, on notice to the children of Mrs Van Rensselaer and answer admitting the above facts, the Court decreed according to the prayer of the petition; and thereupon, Lydia Sill, one of the children, appealed, but unsuccessfully.

There seem to be various items previously owned by John Sanders and Ann van Rensselaer in museum collections. For anyone interested, there is a great deal more about the family in the book.

John Sanders van Rensselaer and John Vanderlyn
In making attributions to artists where there is no signature, it is desirable to demonstrate a connection between the sitter and the artist. It was noted above that van Rensselaer was a senior aide to Governor Clinton. Separately, William Dunlap records in his History of the Arts of Design, that Vanderlyn painted a portrait of Governor Clinton for the Literary and Philosophical Society. In addition Dunlap notes that in 1816 Clinton asked Vanderlyn to become a director of the American Academy of Fine Arts, but Vanderlyn declined.

The Vanderlyn portrait of Clinton would have taken a number of sittings and so it is extremely likely that van Rensselaer as Clinton's aide, met Vanderlyn during this process, if indeed he had not met him earlier. In addition it is entirely plausible for van Rensselaer to ask Vanderlyn to paint a miniature portrait of his betrothed, Ann Dunkin, before their marriage, to have as a memory when she was absent in Philadelphia. Being prior to their marriage, a miniature portrait was a more logical commission than a large oil as they had not yet set up house. To ask for a miniature painted in the manner of the French miniatures popular while Vanderlyn was studying in Paris, was also a fashionable request for such a wealthy and well-connected family.

The painting and the artist

Having identified and described the sitter, it is time to turn to the painting and the artist. As the marriage took place on 12 March 1816, it seems likely Ann was painted in 1815 or early 1816. The framing of the portrait is a little unusual in that there is an extra metal fillet or bezel inside the most obvious oval bezel. This fits with the dating of the portrait, as being a portrait framed during the time of the impacts of the Embargo Act and the war of 1812, in a make-do frame. This has been discussed at length in a previous post, and as I say there, I think it is important for history, to keep such portraits in these make-do frames, and resist any temptation to re-frame them, see 2008 - Additions and Comment: Case study - The Embargo Act of 1807 ...

John Vanderlyn (1775-1852) is a highly regarded American portrait and scenic painter. He was employed by a print-seller in New York, and was first instructed in art by Archibald Robinson (1765-1835), a Scotsman who was afterwards one of the directors of the American Academy. He copied some of Gilbert Stuart's portraits, including one of Aaron Burr, who placed him under Gilbert Stuart as a pupil. The Vanderlyn portrait of Aaron Burr was the original on which a miniature of Burr in this collection is based. See below and also View

In 1796 Vanderlyn went to Paris, and in 1805 to Rome, where he painted his picture of "Marius amid the Ruins of Carthage", which was shown in Paris, and obtained a gold medal. This success caused him to remain in Paris for seven years, during which time he prospered greatly. In 1812 he showed a nude "Ariadne" (engraved by Durand, and now in the Pennsylvania Academy), which increased his fame. When Aaron Burr fled to Paris, Vanderlyn was for a time his only support.

Vanderlyn returned to America in 1815, but did not meet with success; he worked very slowly, and neither his portraits nor various panorama which he exhibited brought him any considerable financial return. In 1842, through friendly influences, he was commissioned by Congress to paint "The Landing of Columbus" for one of the panels in the rotunda of the Capitol at Washington. Going to Paris, he employed to assist him a French artist, who, it is said, did most of the work. He died in absolute want at Kingston, New York, on the 23rd of September 1852.

A portrait of Aaron Burr's daughter Theodosia Burr Alston (1783-1812) has been attributed to by Vanderlyn, and is commonly called The Nag's Head portrait. Theodosia also features in a portrait attributed to Edward Greene Malbone, of which an early copy exists in this collection. That on the left is by Vanderlyn and on the right is an early copy of the Malbone version which has been attributed to John Wesley Jarvis (1780-1840), for more about this portrait, see View Ann Dunkin and Theodosia would almost certainly have known of each other.

Vanderlyn was the first American to study in France instead of in England, and to acquire accurate draughtsmanship. He was more academic than his fellows; but, though faithfully and capably executed, his work was rather devoid of charm. He painted portraits of Presidents George Washington (a copy of Stuart's portrait, for the National House of Representatives), James Monroe, James Madison, Andrew Jackson and Zachary Taylor, and of the statesmen Robert R. Livingston (New York Historical Society), John C. Calhoun and George Clinton. Vanderlyn also painted portraits of the parents of the artist Louisa Caroline Strobel, who has three miniatures in this collection, for more see View

The return of Vanderlyn to America in 1815 fits with this portrait, as does the French coloring and style. The close-ups also reveal the artist's attention to detail and it is easy to believe he took a long time to complete this portrait. In 1815 the successful miniature painters in New York were those copying more of an English style, with lighter backgrounds, often showing clouds and blue sky.

As Ann Dunkin was living in New York before her marriage, it does seem reasonable to attribute this miniature to John Vanderlyn based upon its style. There are believed to be in existence, some examples of miniatures painted by Vanderlyn before he went to France, but they may not be very helpful in attributing this miniature, as his painting style would have changed while he was being taught in France and as he followed the painting fashions there. However, one thing that seems very distinctive in comparing the two oil portraits of ladies c1815, with the miniature of Ann Dunkin c1815, is the way that each of them is depicted with an apparent double outline of the chin/jawline. A similar extra line is less obvious on the Theodosia portrait, but seems to be a characteristic of Vanderlyn's work. Some other artists, such as Thomas Sully, who painted both oils and miniatures, also painted such a double jawline around this time, although his were less pronounced, but it is possible Thomas Sully painted the miniature.

Showing here is Vanderlyn's 1815 oil portrait of Mary Scott Swan in a similar pose with a red wrap, and also one of Mary Ellis Bell. The colors are more intense, as by an artist more confident in painting in oil. The pose of the miniature is more that of an artist more at home with bust portraits, than closer head portraits in miniature. Miniature French portraits of this date tend to have darker backgrounds, and regrettably, the artist has not made the most of the translucence of ivory, as was then fashionable with miniature painters in New York, factors which help explain why he was not more successful with miniatures upon his return.

The identification of the sitter by her maiden name in contemporary writing on the reverse, dates the miniature as being painted in America in 1815. It is by an expert hand, but is dissimilar to the work of other artists working in American at that time who had been trained in France.

One possible artist, although not trained in France, is Anson Dickinson. His name is only suggested as his account book for June 1816 includes a portrait for "Vanranselaer" [sic] This being separate from his miniature of 19 Feb 1827 of Mr "Stn Van Ranseleer" [sic]. Dickinson was friendly with Vanderlyn at this time, but although the 1816 date would fit with the portrait of Ann Dunkin, a comparison of the style with miniatures by Dickinson of around this date, as depicted in Dearborn, shows differences and tends to suggest that the Dunkin portrait was painted by an artist producing even better work than Dickinson was at that time. Another artist discounted is Robert Fulton. He would have been a logical choice, having painted Mrs Ann Dunkin, but he died in 1815 and the style of his later work is more akin to the fancy views as popularized by the French artist Isabey.

While confirmed examples of miniatures by Vanderlyn have yet to appear, there are sufficient indications here to support an attribution to him. Any thoughts by experts on the work of John Vanderlyn would be very welcome, but in the interim it seems the portrait of Ann Dunkin, Mrs John Sanders van Rensselaer, is a rare example of a miniature portrait painted by him after his return to America in 1815. 1417

Unknown - portrait of General Washington

2011-04-11T14:55:00.000-07:00

This miniature portrait of General Washington was purchased at auction in 2008 as a cheap impulse buy, but has been lying on one side as nothing could be found out about it and it did not really fit within the scope of this collection. The portrait is 55mm in diameter and the ebonised frame is 115mm x 110mm. It may have been originally gilded or polished.

It was a puzzle as it refers to General Washington, whereas nearly all portraits refer to him as President Washington. It does not even seem to appear in standard references to portraits of George Washington, such as Eisen. As can be seen from the reverse, it is a likely a pressing with several copies being made.

However, a kind visitor has now provided some information about the portrait, as a few similar examples are known. He advises of an apparently identical one in his collection;
(Circa 1785) General Washington Uniface Medallion. England. Repousse". Diameter 56mmmm. Rare unlisted Washington uniface medal in period frame. John J. Ford had 3 of these in his collection, Ford II, Lots 243-245. Ford believed these were used with mirrored backs and circa 1786-1790. Ford's deduction was not difficult; clearly these pieces with the "General Washington" legend, and no reference to his presidency were pre 1789 when Washington was inaugurated president. Lot 245 had the plain rim as this does, but all 3 Ford pieces were holed. I am only aware of those 3 examples, and one where the design was incorporated into the lid of a box. 2 of Ford's examples originated in England, as did this example, making it highly likely it was of English manufacture. This is the only unholed example with plain rims.

Another one with silver overlay, was sold by Heritage Auctions in November 2010 for nearly $1800, being described as;
George Washington: A Superb Early Portrait Plaque. This highly detailed, high-relief silver shell medallion is surrounded by raised brass rim, and set into a lacquered hardwood frame. This is the same sort of medallion image seen under glass on snuff boxes of the very early 1790-1815 era. Original brass suspension loop at the top is attached by a brass clasp in the form of a collage of implements of war. A beautifully made early GW display item. Medallion 51mm, overall dimensions 4.375" x 4.125".

To my eye, the one with a silver surface looks as if it has recently been re-silvered and thus is not in original condition. The frame and hanger may also be replacements.

From these various comments, it seems the portrait is of British origin. About a year ago, I saw for sale on eBay a very similar portrait in an identical frame, but of Napoleon. Thus the two portraits would seem to have been made at the same time. It appears they were sold in frames like this, but also used for snuff box lids. 1349

A Boston artist - portrait of a young lady

2011-03-17T15:33:00.000-07:00

This miniature portrait of an unidentfied young lady in a black dress with a white lace shawl was painted in Boston around 1835-1840. The size is 2 3/4 inches by 2 1/4 inches (72mmx57mm). The image showing does not do justice to the quality of the detail, but it may not be by a professionally trained artist.

Although it is unsigned, it is contained within a leatherette case of the period which has the maker's label reading "Made at Smith's, No 2, Milk St., Opposite Old South, Boston."

The label is identical to the example showing here, except it is on pink paper. The yellow example coming from the portrait by Moses B Russell at View

Smith provided cases to the premier miniature painters of Boston at the time and, apart from the portrait by Moses B Russell, there are in this collection miniatures by Alvan Clark (1804-1887) and Richard Morrell Staigg (1817-1881) with the same framemaker's label.

This knowledge invites speculation as to the artist for this portrait. The style seems unlike Moses B Russell, Alvan Clark, and Richard Morrell Staigg, so they can all be ruled out.

There were other artists working in Boston at various stages between 1830 and 1850, including;
Augustus Fuller (1812-1873), Eliza Goodridge (1798-1882), Sarah Goodridge (1788-1853), George Harvey (1800-1878), and Mrs M B Russell (1809-1854).

No firm attribution has been made, but the most similar portraits available for comparison are Figures 209 and 210 in Johnson, which are repeated as figures 397 and 398 in Barratt. Both those volumes state the portraits are by Moses B Russell, but a kind expert on American miniatures has expressed the opinion that those two portraits are more likely to be by Mrs M B Russell (Clarissa Peters). That seems more likely as the two portraits demonstrate less skill than Moses B Russell.

Having said all that, no firm attribution can be made for this portrait, but if by any of these artists, it may be by Mrs M B Russell, or perhaps less likely by Sarah Goodridge. 1410

Strobel, Louisa Caroline - portrait of Ann Elizabeth Strobel

2011-01-16T13:58:00.000-08:00

This miniature portrait of Ann Elizabeth Strobel, painted by her sister, Louisa Caroline Strobel, is a testament to the amazing power of the Internet and a heart warming story.

Ann Elizabeth Strobel was born on 29 December 1801 at Liverpool and was christened there on 14 October 1808. The link at
1808 - Lancashire OnLine Parish Clerk Project records her christening and also that of her sister. The record shows Louisa's middle name was Caroline, although most reference books show her name as Louisa Catherine Strobel. (The confusion appears to have arisen in that there was a Louisa Catherine Strobel, who was born in Charleston SC on 29 Sep 1796. But she died there on 14 Apr 1797 and was unrelated.)

A couple of months ago, I discussed an American miniature portrait I had been fortunate to acquire from an auction on eBay in Britain. It was of William George Bicknell and painted by his sister-in-law, Louisa Caroline Strobel. The vendor had purchased the portrait at a local auction and then offered it on eBay.

While I was researching that miniature I came across to a reference to a miniature of the wife of William George Bicknell which had just been sold at a UK country auction for £140. From viewing the picture, it was obvious that the portrait, although unsigned was also by Louisa Caroline Strobel. It sold at Keys Pictures Auction on 8 October 2010 and was described as Lot 257. 19TH CENTURY ENGLISH SCHOOL, MINIATURE, Portrait of Mrs William George Bicknell, 3" x 3"100-120 - This Item Realised £140"

Naturally it was extremely disappointing to realise the portrait of husband and wife had been split up after so many years together.

Then just before Christmas 2010, I was browsing on the Internet for the name Strobel, and was flabbergasted to see that the miniature of Ann Elizabeth Strobel was now on offer at another country auction at Lacy Scott & Knight, about 50 miles from where it had been sold previously. As the miniature was unsigned, the auction listing did not identify the artist, and had also misspelled Strobel as Stzobel. Thus I was fairly confident that any other collectors of American miniature portraits seeing the auction listing would not realise who it was by and how valuable it was.

But, on looking at the auction date, I saw that the auction was to take place within the next 24 hours, on 11 December 2010, so I immediately sent off an email with quite a high bid, as I felt I had to reunite the two portraits. Although I had never bid with the auction house before, they kindly accepted my absentee bid.

To my great relief, I was successful well below my limit, at a hammer price of £220. That gave the previous owner a profit, but if it had been sold in USA, the hammer price would have been far higher.

The next worry was for a safe arrival! What with the Christmas postal rush, and airports in the UK being closed by snow, it took a month to reach me, whereas packages normally take less than a week. Thus, it was a very stressful wait, and a great relief when the parcel finally arrived safely, over five weeks after the auction!

Hence the miniature now appears here, together with the miniature of her husband, William George Bicknell. Here the inscription reads "Mrs William George Bicknell nee Anna Elizabeth Strobel of S Carolina, grandmother of Eleanor Lloyd nee Bicknell. Her husband was 1st cousin to my gt-grandmother, Emma Georgiana Marescaux (born 1800)." For much more about the artist, Louisa Caroline Strobel and her family, see View

I am not a superstitious person, but cannot help feeling that my hand and eye were guided, somehow, to reunite the portraits. Yes, there are such things as coincidences, but the mathematical probability against seeing and then procuring both portraits must be astronomical!

A VERY noteworthy thing, for owners of miniatures, is that apart from incredible luck, it was only possible to reunite the portraits as a previous family member had left very detailed notes on the sitters. I can only urge that owners of miniatures (and photographs) please write the details on the reverse. Any one who has made even the slightest attempt to research family history, will know how frustrating it is to come across family photos without any indication of the sitter. Apart from anything else a miniature of a named sitter, is normally twice as valuable as the same miniature, if the sitter was unknown. With an additional premium if the artist is also known. Thus, showing the name of the sitter on the reverse, also protects the value of a family's inheritance.

As mentioned previously, miniatures by Louisa Caroline Strobel are rare, but there are miniatures by her of her family in the Gibbes Museum. These can be viewed at http://gibbesmuseum.pastperfect-online.com/36029cgi/mweb.exe?request=keyword;keyword=strobel;dtype=i;subset=100 Those portraits include another miniature of Ann Elizabeth Strobel at a slightly older age, also painted by Louisa. The Metropolitan Museum also has miniatures of by Louisa. Taken together, the Strobel family miniatures here and at the Gibbes Museum, must represent one of the most painted families in America, in miniature portrait form. 1393, 1402

Rogers, Field, Edwards, and another artist

2010-11-26T13:02:00.001-08:00

One of the best, and most prolific, American miniature painters of the early 19C was Nathaniel Rogers (1787-1844). Rogers first exhibited at the American Academy of Fine Arts in 1817 and thereafter was a regular contributor. As he rarely signed his work, attributing his miniatures can be a challenge for those unfamiliar with his work.

However, for those collectors who recognize his miniature portraits, his style, although changing as his career developed, is very distinctive, although it is a bit difficult to explain what makes it so distinctive. I think probably it is his soft perfection, with his distinctive style best explained and understood by comparing the eyes of his various sitters. Certainly his work is appealing and most collections have at least one example. The Metropolitan Museum has 19 miniature portraits by Rogers and the Smithsonian has three examples.

Three miniatures by Rogers were added to this collection as part of a group of six miniatures offered as a lot by Kaminski Auctions, where none of the artists were identified by the auctioneers. However, the six included three miniatures by Nathaniel Rogers, one of a man against a pale background by Robert Field, one of an older woman by Edward Miles, and a sixth, on the left below by an as yet unidentified American artist.

The auction description was; Kaminski Auctions; "Lot: 3395 - Description: Six (6) miniature portraits, watercolor on ivory, largest is 3 1/4" x 2 1/2". Three (3) have cracked ivory; not examined out of frames. Estimate $300~500"

Although three miniatures were cracked, the lot was sold for a hammer price of $3100, another instance where the sale price was ten times the low estimate. The miniature at the top left is the only identified sitter.

From an inscription on the reverse, his name appears to be Mr. Robert Bloomfield. He is probably the Robert Bloomfield born in 1793 at Hartford, CT, the son of Thomas Bloomfield (1764-?) and his wife, Barbara Lane (1768-?). Barbara being the daughter of Rupert Lane (1732-1800) of Wiltshire England and Rebecca Swain who were married in 1755. That would fit with a miniature painted around 1815-1820. Initially, the miniature could not be attributed, but a kind authority on American miniatures has since advised it appears to be an early Nathaniel Rogers.

Rogers is believed to have met Anson Dickinson in Connecticut before moving to New York in 1807, where he took instruction from P Howell and Uriah Brown, before becoming an apprentice to Joseph Wood in 1811. Thus, Rogers' early work was influenced by those artists, and this can be seen in the Robert Bloomfield miniature. Although the damage adversely affects its value, the miniature does have interest as a named sitter and an early example by Rogers.

Rogers quickly developed his own style, maturing into that of the man on the right and the lady at the bottom left, which are also by Rogers, most likely a husband and wife pair. Although they are in replacement frames their condition is very good for miniatures 200 years old, and better than appears in the above image, as they benefited from the glasses being cleaned. The lady is very similar in appearance to the miniature of Matilda Few of c1815, owned by the Metropolitan Museum, so she and her husband probably date to around 1815. That makes them quite early works by Rogers, as Rogers took over Joseph Wood's practice in 1814. The CAA at the Gibbes Museum owns another Rogers miniature of a not too dissimilar lady named Martha Johnson, which must date to around 1815.

The fact of the two Rogers miniatures being in replacement frames itself is of interest. As I have discussed elsewhere, the art of miniature painting and the obtaining of artist's materials were adversely impacted upon by the Embargo Act and the War of 1812. Ivory itself does not seem to have been hard to obtain, but frames were imported from Britain. From the passing of the Embargo Act, until the aftermath of the 1812 War had passed, the reduced number of miniatures painted during this period tended to be housed in "make-do" frames, made of whatever local materials and scraps were available. These were not well enough or purpose made to last, and hence miniatures painted between 1808 and 1818 have often been given replacement cases. A personal opinion is that genuine "make-do" frames dating from between 1808 and 1818 are important historical relics in their own right, and they should be retained, if a miniature of the period is found housed in one of them.

The man on the left was also in good condition, either British or American, he has not yet been attributed to an artist. The other two cracked miniatures include one by Robert Field and a lady by Edward Miles. Although in poor condition, the two are still helpful for reference purposes.

The fortunate purchase of the three Rogers miniatures at the Kaminski auction, brings the total of Rogers miniatures in this collection to eight. The one of the pretty young lady is especially welcome as "pretty ladies and children" are much harder to find than "boring old men", the previous acquisitions all being males. 1396, 1397, 1398, 1399, 1400, 1401.

The others are shown here in approximate time of painting, so that the development of Rogers style can be seen. The second one is in a "make-do" case of around 1815 with an extra fillet, and the others range through to the rectangular one dating to about 1830, which has an unusual background very similar in style to two portraits of ladies by Rogers in the Metropolitan collection.

Over time, Rogers tended to move from a more angular, gaunt and unsmiling style, reminiscent of Joseph Wood and appropriate to the United States during the time of the 1807 Embargo Act and the resultant War of 1812, to a well-fed and rosy cheeked appearance, with a hint of a smile, during the following years of peace and prosperity! This latter period was a time when more people could afford to have miniatures painted and hence most of Rogers miniatures date from between 1820 and 1835, with his output seeming to cease just prior to the advent of the cold wind of photography. Rogers was only 57 when he died, so could have been even more prolific had he lived longer.
Rogers, Nathaniel - portrait of David Ryerson
Rogers, Nathaniel - portrait of Dana Eleutheros Comstock
Rogers, Nathaniel - portrait of a man
Rogers, Nathaniel - portrait of Master Bucknell
Rogers, Nathaniel - portrait of a young man

Restoration of the Nathaniel Rogers House in Bridgehampton NY is officially underway. The house was built for Rogers in 1842 and known as Hampton House. Its magnificence gives a idea of how important he was as an artist. The house has apparently suffered from deferred maintenance and so the restoration is welcome. These days, the price of the exterior stabilization will be $1.9 million, but that's just a drop in the ionic column compared to the renovation's total expected cost of $4.5 million. Of that sum, the historical society already has commitments of $2.2 million, including $1.1 million from Southampton Town over the next three years. Another $850,000 has come from private donors, and $250,000 from the New York State Office of Parks, Recreation and Historic Preservation. The building has been listed on the National and New York State Registers of Historic Places.

It is intended to hold a major exhibition of his work in the house on completion. Successful and sympathetic restoration of the project may lead to a resurgence of interest in Rogers who, as with other miniature painters of the 19C and early 20C, has been much under-rated as an artist. The Project welcomes donations.

Nathaniel Rogers House Preservation Project

For those interested, there is an extensive article about Rogers at; The Legacy of Nathaniel Rogers (1787-1844) Long Island Artist from ...

Strobel, Louisa Caroline - portrait of William George Bicknell

2010-11-07T19:28:00.000-08:00

There were very few American female miniature painters before 1830 and even fewer American female artists of that period who worked outside USA. In fact, this miniature portrait may be the oldest miniature portrait by a female American artist painted outside USA.

The miniature is signed "Louisa C Strobel" for Louisa Caroline Strobel (1806-3 Apr 1883) who was born in Liverpool to American parents, Daniel Strobel Jr (9 Mar 1768-30 Nov 1839) and Ann Church (c1772-?) who were married on 14 Aug 1796 at the British Factory Chaplaincy, Lisboa, Portugal, when Daniel was the first American Minister to Portugal. (For those interested, paintings of Louisa's grandparents. Daniel Strobel Sr (1734-1806) and Mary Elizabetha Martin (1732-1807), can be seen at http://roots.gblcreations.com/taylor2.html ) Being diplomatic staff, the family returned to the United States in 1812 on the outbreak of war with Great Britain, when Louisa was aged six. After the war, they moved to Bordeaux in France where her father was the American Consul between 1815 and 1824, until replaced by his son George Strobel, seen here on his mother's knee.

Louisa's father, Daniel Strobel Jr and her mother, appear in these portraits by John Vanderlyn. There has been some confusion over Louisa's middle name and birth date. Most sources including the Metropolitan Museum quote her name as Louisa Catherine Strobel born in 1803, but the IGI records her name as Louisa Caroline Strobel with her birth date as 4 Feb 1806 and her christening as 14 October 1808, the same christening date as her elder sister. Several 19C sources also record her name as Louisa Caroline Strobel and hence this is believed correct.

One of the miniatures in the CAA Collection is of Anna Strobel (Mrs Bicknell) an older sister of Louisa, who married a member of the British Legation. The Collection of the Carolina Art Association owns several family miniatures and speculates; "Where Strobel obtained skill at painting miniatures is not known, but she may have trained with a French artist."

Fortuitously, the miniature of Anna's husband has now emerged and confirms that, as it is demonstrably French in style. Being round, it is even more French than other miniatures by Lousia Strobel which are all oval or rectangular.

The portrait is of William George Bicknell who married Ann Elizabeth Strobel on 24 May 1827 at the British Embassy Chapel, in Paris, France. The reverse is inscribed;
"Born 1797- died 1877
William George Bicknell married Miss Strobel
of USA (S Carolina) daughter of a clergyman.
1st cousin of my gt-grandmother
Emma Georgiana Marescaux".

It therefore seems it was painted in 1827 at the time of Anna's wedding and is probably the earliest surviving work by Louisa.

Ann Elizabeth Strobel was born on 29 December 1801 at Liverpool and was christened there on 14 October 1808. Unfortunately, an opportunity to purchase a miniature portrait of Ann was recently missed. It was unsigned, but appears to have been by Louisa Strobel. It sold at Keys Pictures Auction on 8 October 2010 and was described as Lot 257. 19TH CENTURY ENGLISH SCHOOL, MINIATURE, Portrait of Mrs William George Bicknell, 3" x 3"100-120 - This Item Realised £140" The image can be seen at http://www.keysauctions.co.uk/sales/pw/pw081010/res/fullres_pw081010.pdf

William George Bicknell seems to have had a patent granted in 1850;
"William George Bicknell of No 10 Essex-street Strand and James Reginald Torin Graham of the Grove Clapham-common of an Extension of Letters Patent, granted by His late Majesty King William the Fourth, to Miles Berry, of Chancery-lane, for Certain improvements in machinery or apparatus for cleaning purifying and drying wheat or other grain or seeds for the term of six years. Sealed June 7 1850."

And Volume II of Lives of the Most Eminent Foreign Statesmen by G P R James, published in 1836, has a dedication to him as W G Bicknell.

Louisa returned to the United States in 1830 and married on July 1, 1841. She mainly painted family members and reportedly did not paint miniatures after her marriage. Her husband was Rev Benjamin Nicholas Martin (1816-26 Dec, 1883), who was ten years younger than her. He was a graduate of Yale College in 1837 and succeeded Mr Danforth as the eighth pastor of the First Religious Society at Hadley. He was ordained Jan 19 1843 and one report claims he was dismissed on June 9 1847. However, it seems dismissed may just mean resigned, as another report says that he resigned in 1847 "as the climate of Hadley proved unsuited to Mrs Martin's health" to become Pastor of the Fourth Presbyterian Church of Albany. In 1852 he became Professor of Rhetoric and Intellectual Philosophy at the University of the City of New York. "At the time of the infamous New York Riots, July, 1863, a notable instance of his courage for the right appeared when he stood with two or three others in defense of a hunted negro in the face of a crowd of excited pursuers, and rescued him from threatened death."

On his 1883 death nine months after Louisa, it was reported the Rev. Dr. Benjamin Nicholas Martin, Professor of Logic and Intellectual and Moral Philosophy in the University of the city of New York, died recently at his home in this city of acute bronchitis. He was very popular with the students, and worked hard for the interests of the University. He was the author of many theological essays and of several books. Louisa and Benjamin were both buried at New Haven alongside Louisa's father and brother.

Louisa and Benjamin had an only son, Daniel Strobel Martin, born June 30, 1842 at NYC. He attained his Ph.D in 1881 and taught Geology at Rutgers and Cooper Union. On his death he bequeathed six Strobel family portraits to the CAA. There are also five miniatures, mainly of family members, by her in the Metropolitan Museum. One further miniature attributed to Louisa is of Louisa Catherine Johnson Adams, wife of President John Quincy Adams.

Louisa's works are thus rare although there is one other miniature by her in this collection. It is signed Louisa C Strobel on the right hand edge. It is of a young lady in a white dress as showing here, and judging by the hair and clothes, it must date close to 1840.

The two miniatures therefore represent examples from the beginning and the end of her short career. 218, 1393

Russell, Moses Baker - portrait of Josiah Quincy III

2010-11-03T13:42:00.000-07:00

The previous owner of this miniature portrait believed it to be of Josiah Quincy III (1772-1864), the second Mayor of Boston, prior to that a U.S. Representative for Boston in the U.S. Congress and later President of Harvard University, with Quincy Market being named after him. I am currently unable to confirm that as the correct identification, but have shown a photo of Josiah Quincy III for comparison. This miniature is dated 1841, when Quincy would have been aged 69, but it is possible the miniature may be of a slightly younger man.

Nevertheless it is an exceptionally fine character portrait by Moses B Russell (1809-1884). Russell worked in Boston for more than fifty years as a portraitist in both oils and miniatures. In 1839 he married Clarissa Peters, who has since become famous as the miniaturist Mrs M B Russell.

The style and quality of Moses' miniatures varied considerably over his career, as did his method of signing his work. His earlier works were of better quality, being painted before the advent of photography and the daguerreotype which came to dominate from 1839 onwards.

However, as daguerreotypes were much cheaper to produce and had the wonder of new technology, they became very popular and undercut the business of the miniature painter. Hence both Moses and Clarissa tended to seek a point of difference with their miniatures from 1840 onwards. Clarissa focused on children in a stylized format with round faces and big eyes. These have become very valuable, although their technical quality is indifferent. After that date, Moses often tended to copy her style in an effort to retain business.

This miniature by Moses is signed and dated "M B Russell Pinxit 1841". It is therefore at an interesting stage of his work. Moses was experiencing the cold winds of competition from photography, and with this miniature one can see his first wide use of pastel tones for the face and background.

These pastel tones arose from the invention of new colors derived from chemical, rather than natural, bases. These new colors gave rise to Impressionism in Europe later in the 19C, and with this portrait, there are almost overtones of experimentation in an Impressionistic manner. This cannot have been commercially successful for Moses, as by 1844 he had reverted to more traditional background colors as shown in the 1844 portrait of a young man below.

Also showing here is the framemaker's label inside the casework, "Made at Smith's, No. 2, Milk St., Opposite Old South, Boston." Smith was used by the premier miniature painters of Boston at the time, and in this collection there are miniatures by Alvan Clark (1804-1887) and Richard Morrell Staigg (1817-1881) with the same framemaker's label. 1390

Within this collection there are several other miniatures by Moses B Russell. Two of them being signed on the reverse. In addition there are a couple of unsigned works which are attributed to him. Below is an unsigned attribution of a young lady in a pink dress, also a young lady in a dark dress which has an incised signature on the front and an inked signature on the reverse and is dated 1835. The portrait of the young man is signed in ink on the reverse and is dated 1844.

Russell, Moses B - portrait of girl in a pink dress

Russell, Moses B - portrait of a young lady...

Russell, Moses B - portrait of a young man

Unknown - portrait of Phebe Debevoise Ryerson

2010-09-20T20:16:00.000-07:00

Many collectors are reluctant to acquire cracked miniatures because it is very hard and expensive to achieve an invisible repair. That is understandable if perfection is one's objective, but if instead one is interested in history, condition is not quite as important. Except for rare instances, only one version of a miniature exists and thus if an opportunity is passed up to acquire a damaged miniature, the opportunity is lost for ever. Obviously, damaged miniatures cost less and thus, the fun of historical research can be enjoyed and shared without great expense.

This miniature portrait is a case in point. Although damaged with cracks at either side, the sitter is identified as "Phebe de Bevoise Ryerson, wife of Jacob Ryerson, grandmother of W Ryerson Kissman". She seems to have been born at Wallabout, c1756 as the third of five daughters of George Debevoise and Elizabeth Vanderbilt. Jacob Ryerson was born c1754, also at Wallabout.

This collection already contains a Ryerson miniature, one of David Ryerson by Nathaniel Rogers as showing here. Hence I thought it would be interesting to see if Phebe was related to him! Nathaniel Rogers - portrait of David Ryerson...
But preliminary research has not yet disclosed a relationship.

Within half an hour of starting my research, I discovered a beautiful image of a stained glass window, gifted by a member of the same family as recorded below! The miniature of Phebe being the mother of the donor of the window, which can be seen in the Old First Reformed Church in Brooklyn New York. The window is said to be commissioned by George Kissam’s wife, Ms. Phebe Ryerson Kissam, who, it has been conjectured, was the model for the window.

Initially, I had hoped to be able to show a picture of the window, which depicts The Samaritan Woman: Meeting at the Well by Tiffany Studios but when I sought approval to show it, but permission was declined, hence anyone interested to see the window is therefore directed to www.janebarberdesign.com/oldfirst_2009/index.html

[For another miniature in the collection associated with an early church, see John Shubael Bell... The Old North Church in Boston was very helpful to me in researching this early miniature portrait, as Shubael Bell gifted a famous bust of George Washington to the Church.]

Phebe was descended from Carel de Beauvoise, a highly respectable and well educated French Protestant, who came from Leyden, in Holland. He was of a family whose name and origin were probably derived from the ancient city of Beauvais, on the river Therin, to the northwest of Paris; but there is reason to suppose that he himself was a native of Leyden. He arrived at New Amsterdam in the ship "Otter" on February 17th 1659, accompanied by his wife, Sophia Van Lodensteyn, and three children born to them in Leyden and aged eight, six and three years respectively. His literary merits and acquaintance with the Dutch language soon acquired for him the situation of a teacher, and in 1661 he became "chorister, reader and schoolmaster" for the people of Brooklyn, at a salary of twenty-five guilders and free house rent. He afterwards served as public secretary or town clerk, which office he held till 1669. His children were Jacobus first; Gertrude, who Married Jacob W Van Boerum; Catharine, who married Jacob Hendrickse Haste; and Cornelia, who married Gerrit G. Dorland.

Jacobus Debevoise, only son of Carel, was born at Leyden. In early manhood he embraced religion and joined the church at Brooklyn of which he was afterward a deacon. He married, June 12th 1678 Maria daughter of Joost Carelsz, and died in the early part of the next century, his widow surviving him. they had sons Carel second born 1680; Joost born 1683; Jacobus born 1686; and Johannes, born 1689. Jacobus married in 1715, Sarah, daughter of Joris Remsen, and died on his farm at Bedford, aged about four score. His children were Jacobus (who died in 1751, and whose only daughter, Engeltie, married Isaac Degraw of Brooklyn) and George, who was born in 1720, married Sarah Betts October 18th 1746, and inherited all his father' s estate at Bedford. Joost married in 1707, Mary daughter of Joris Remsen; remained a farmer in Brooklyn, and died a few years before the Revolution, in advanced age. He had issue: Jacobus; Phebe, who married John Johnson; Mary, who also married; Anna who married Johannes W.Wycoff; Elizabeth, who married Peter Cowenhoven, and Sophia, who married Albert Nostrand. Jacobus inherited his father's farm at the Wallabout; married in 1736 Maria Garretson, and died prior to the American War. His children were: George; Samuel, who died without issue; Ida, who married Ferdinand Suydam; Mary, who married Garret Van Duyn. George last named married Elizabeth, daughter of Jeremiah Vanderbuilt, and died at the Wallabout in or prior to 1784. Issue Maria, who married Captain Jackson; Catharine, who married John Van Alst; Phebe, who married Jacob Ryerson; Sara, who Married Jeromus Ryerson and John Cozine; and Ida, who married in succession two persons of the same name, Francis Titus.

The family were among the few early residents of Wallabout and we can see from the list below, that Phebe Debevoise and Jacob Ryerson were close neighbors. The section of the city surrounding the Wallabout is now thickly built up. During the Revolutionary War there were but thirteen persons dwelling on the shores of the Wallabout Creek, on the south side:
Joseph KEESE
Wosterand FOXCRAFT
George DEBEVOISE
Jeremiah VANDERBILT
Jacob RYERSON
John RYERSON and
Martin SCHAACK.

On the east side of the creek were :
B. JOHNSON
Abraham REMSEN
William REMSEN
J. BLOOM
William CARSHAW and
James BUBBICO.

An early description is; "At that time there was a foot path about where Flushing avenue runs in front of the Marine Hospital and a foot bridge across Wallabout Creek. Up to the beginning of the present century the stages from Flushing to Brooklyn used to come by way of Jamaica, but in 1802, William Prince, of Flushing procured the incorporation of the Flushing Bridge and Road Company, by which route the distance between the two towns was shortened about four miles. Seeing the practicability of lessening the distance to Brooklyn Ferry about three miles more, Mr Prince, in the year 1805 procured, the incorporation of the Wallabout and Brooklyn Toll Bridge Company. The road was laid out from the Cripplebush road to the easterly side of the Wallabout Mill Pond, over which a bridge was built to Sands street in Brooklyn. This bridge was originally designed to be 1,400 feet long and 21 feet broad; but Furman says in his MSS, in 1823, that it was only 768 feet in length, the remaining part being made into solid causeway."

The link to the Kissam name comes via the daughter of Phebe Debevoise Ryerson, also named Phoebe Ryerson, who was born July 9, 1817 and died Sept. 29, 1900. She was married first, Nov. 20, 1838, to William P Wells, of Brooklyn, who died April 22, 1846 with no issue. Phoebe Ryerson then being a widow, was married on May 4, 1854, to George Kissam, a merchant, born Sept. 10, 1810 at Brooklyn; he died Dec. 16, 1889. The two children of George and Phoebe (Ryerson) Kissam were:
I. Phoebe Ryerson Kissam, d. in infancy, Feb. 18, 1856.
II. William Ryerson Kissam, b. Dec. 20, 1860 who was married on June 3, 1884 to Eleanor Mansfield Berry, of New York. The resultant children of William and Eleanor Ryerson Kissam being:
i. George Ryerson Kissam, b. Mar. 24, 1885.
ii. Kenneth Berry Kissam, b. July 17, 1886.
iii. Harold Hunter Kissam, b. Oct. 6, 1887.
iv. Reginald Britton Kissam, b. April 30, 1889.
v. Douglas Gunn Kissam, b. May 1, 1893.

William Ryerson Kissam was later a member of The Saint Nicholas Society of Nassau Island

Although the connection has not been confirmed, it perhaps seems a descendant was;
Hunter Ryerson Kissam, Senior, 82, beloved husband, father and grandfather, passed away Saturday, August 14, 2004. Hunter was originally from Port Washington, Long Island. He raised his family in Westfield, New Jersey, and retired to North Palm Beach, Florida. Hunter was a WWII veteran with the 104th Infantry Division Timberwolves. He landed at Normandy Beach and survived 22 consecutive months of combat. He was awarded numerous medals including the Bronze Star. More recently, he was a charter member and served on the board of the Old Port Yacht Club. Hunter is survived by his wife of 57 years, Joy Shepherd, his children; Paige Jagusak of Port Murray, New Jersey, Hunter Kissam, Jr. of North Grafton, Massachusetts and Carol Glennon of Tewksbury, New Jersey; and by his 7 beautiful grandchildren, Jennifer Kissam McNamara, Matthew Jagusak, Shep Glennon, Rosemary Glennon, Patrick Glennon, Ben Kissam and Hunter Kissam III.

Research is ongoing, and will be added if new information emerges. 1389

Mundy, Ethel Frances - portrait of Katharine Morris Young

2010-07-14T14:45:00.000-07:00

As suggested previously, miniature portraits are a much under-rated art form. And within that category, even more under-rated, and even rarer, are miniature portraits in wax. The most famous American wax portrait artist was Patience Wright (1735-1793), but others included Johann Christopher Rauschner (1760-c1830) and Robert Ball Hughes (1806-1868). However, the art died well before Hughes' death, a victim of the daguerreotype.

This wax example is by the American artist Ethel Frances Munday (1876-1964) and is the only example by her I have ever seen. The image inside the frame is 15cm (6 ins) in diameter. It was sculpted in 1934 and the sitter is Katharine Morris Young. [to date I have been unable to better identify Katharine and would be grateful to anyone with knowledge of her. Much later - by an amazing chance, the miniature has now been reunited with the sitter]. At the top it is inscribed "Katharine Morris Young - MCMXXXIV" and at the bottom "ETHEL MUNDY FECIT".

Her technique involved taking a metal plate covered with a thin coating of wax, and outlining the subject in profile with a sharp point. Then slowly building up the figure with particles of beeswax tinted with various colours. The materials were not expensive, but her work was painstaking, so she only managed several commissions each year. I have a copy of a letter from her of November 29, 1928 seeking to arrange an exhibition at the Corcoran Gallery. In the letter she says her miniatures vary in size from four to nine inches in diameter and are best viewed with cross lighting.

Her work deserves to rank with the highest rank of 20C American miniature artists, such as Laura Coombs Hills and Eulabee Dix, but Mundy lacks that recognition as her work is so rare. It seems no major American museum has even a single portrait by her. As can be seen in the article which appeared in Popular Mechanics of April 1921, most of her works were of similar style, although she also made busts.
Showing here is a photograph of Ethel Frances Mundy which appears in a 32 page biography of Mundy written around 1968 by Anna Wetherill Olmstead, but now hard to locate. It contains much interesting background and a dozen further examples of her work. I also have copies of two of her exhibition catalogues, November 1928 at the Ackermann Galleries in Chicago, and the Corcoran Gallery in Washington in February 1929.

Ethel's father, Ezekiel Mundy was Librarian at the Syracuse Public Library. She was fascinated by displays of wax miniatures in Europe, but when she decided to emulate them, the art was already lost and the wax she tried to use was not suitable. Hence she worked for two years with Miss Elizabeth Mayer, head chemist of the wax department at Inness Speiden experimenting with various types of wax.

She commenced her art around 1910 and was immediately successful, continuing for another 40 years. She had a number of one-person exhibitions, but as almost all items listed in her 1928 show, were also displayed in the 1929 exhibition, it seems those items were not for sale, but displayed as examples to attract new commissions.

Her miniatures were very expensive, which shows how much time went into them. I have a copy of her price list from around 1928 and her prices ranged from $400, $450, $550, to $650 for the largest. For two portraits in a single background, she doubled the price, less a $50 discount. I do not know whether she reduced her prices as a result of the Depression, but I think the portrait displayed here is the $550 size and presumably was commissioned in 1933. When 1933 dollars are converted to 2010 dollars (using http://www.bls.gov/data/inflation_calculator.htm) the $550 converts to $9230.

Given that kind of pricing, it is not surprising that her client list included;
Elizabeth Arden
Henry C Frick
Harry Guggenheim
Gertrude Lawrence
Andrew Mellon
J Pierpont Morgan
General George Patton
John D Rockefeller
William K Vanderbilt
Mrs Harry Payne Whitney
Thomas J Watson
and many others. The wealth of her clients, probably explains why her wax miniatures do not come on the market, now being family heirlooms. [I have a partial client list if anyone is researching Mundy]

According to Olmstead, Mundy worked from life and only ever executed two miniatures from photographs, one of Queen Elizabeth the Queen Mother, and one of Queen Elizabeth II, as Princess Elizabeth. These two wax miniatures were sold to raise funds for British Bundles for Britain during World War II and for the British Red Cross. Mundy served as a trustee of the Syracuse Museum of Art for 30 years. 1387

More recently two early miniatures by Mundy have been added, likely dating to around 1920. Both unsigned and unidentified, but clearly the work of Mundy. One is 5 1/2 inches and the other is 6 inches in diameter. The smaller one is fractured into several pieces, but is restorable. 1408a, 1408b.

Hill, Pamelia - portrait of a man

2010-07-08T16:25:00.000-07:00

I am not completely sure that this miniature portrait is by Pamelia E Hill (1803-1860), but it does have similarities with examples of her work in the Worcester Art Museum, especially the portrait of Sarah Loring House Turner. There are similar piercing dark eyes and background shading.

The image shows how artists went over the edge of the ivory, particularly with the preliminary background. One can often see how the colors were mixed to achieve subtle tones.

Relatively little is known about Pamelia Hill who was overshadowed in the Boston area by the Goodridge sisters, Sarah and Eliza. 1378

Staigg, Richard Morrell - portrait of a young lady

2010-05-16T14:32:00.000-07:00

Richard Morrell Staigg (1817-1881) was born in Britain and attended a drawing school in Leeds.

In 1831 he moved to the United States with his father, and four years later he settled with the family in Newport.

In his artistic efforts he met with encouragement and advice from Washington Allston, and soon devoted himself entirely to miniature painting.

He was a regular exhibitor at the National Academy of Design, New York City, of which he was elected an associate in 1856, and an academician in 1861.

He visited Europe 1867-1869, and again 1872-1874.

The last twenty years of his life were devoted to painting life-size portraits in oil, as well as genre pieces and landscapes.

Although this miniature of an unknown young lady is unsigned, it has some similarities with his other works. The face is very finely painted, especially when viewed with a magnifying glass.

In this example, the fixed gaze in the sitter's eyes suggests the portrait may have been copied from a daguerreotype, perhaps after her death. That was not uncommon, as with John Henry Brown who painted a number of miniatures from daguerreotypes, of which there are examples in this collection.

During his mid and later period Staigg's miniature works more and more resembled the large oil paintings he was also producing. As with two other miniature portraits in this collection, one of Colonel William Winchester; 2 - American Miniature Portraits: Staigg, Richard Morrell ... and one of an unknown man Staigg, Richard Morrell - portrait of a man

Another factor supporting the attribution, is the frame-maker's label; "S J H Smith, Maker, No 215 Washington Street, Up Stairs, Opposite Franklin Street, Boston". Several signed works by Staigg are in cases made by the same case maker, who also operated out of 2 Milk St and 182 Washington St. The address of 215 Washington Street suggests this is a later work by Staigg, dating to sometime after 1850. 1379

Quinton - Portrait of a Young Lady

2010-05-16T14:00:00.000-07:00

A little known American miniature painter who is only known as Quinton, was active in 1804 and is listed in Young's Dictionary of American Artists.

This miniature portrait of a young lady is signed in pencil, Quinton, but there is some doubt about the attribution. The miniature was acquired from a large collection assembled before 1950 which included many miniatures supplied by the well-known dealer and collector, Edward Grosvenor Paine.

It has previously been suggested by knowledgeable art historians that Paine was some times "bold" with his attributions and was not averse to adding signatures to portraits.

This attractive miniature portrait of a young lady may come into that category. The face is well painted by a competent artist and she is wearing a tortoise-shell comb in her hair. Without other clearly signed miniatures by Quinton it is not possible to confirm an attribution to Quinton.

It does appear to be American and to date from 1820-1825, which seems to be too late to be by Quinton.

Thus it is more likely by another American artist, and it may be possible to make an attribution in the future.

It is housed in an oval, dark-red, leather case, typical of the period. 1377

Vallee - Portrait of a Young Man

2010-05-16T13:32:00.000-07:00

After the French Revolution and during the Napoleonic Wars, a number of miniature painters left France for America.

Among them was Jean Francois de la Vallee (aka P R Vallee) who was active in the United States from around 1785-1828. He is reported to have worked in Philadelphia, Charleston, New Orleans, and Boston.

It has been recorded that he had a scheme to build a cotton mill in Virginia, and when it failed he resorted to miniature portraits, such as this one of a young man.

While technically competent in the detail, his work lacks the spark and quality of his French compatriots of the time.

His work is not common, thus although this miniature has a vertical stress fracture on the right, it is a good example of his work, with a clear signature.

From the clothing and neck-wear, the portrait dates from around 1815-1820 and was probably painted when he was in Boston.

As was fashionable at the time, the sitter wears a stickpin, as a forerunner to the tie pin which was worn by men for many years.

Although not shown, the frame is a typical French ebonised frame of the period. 1372

Sully, Lawrence - portrait of a young lady

2010-04-29T16:15:00.000-07:00

This miniature portrait of an unknown young lady has been attributed to Lawrence Sully (1769-1804). Sully was not a good artist, and many of his miniatures are somewhat primitive in style. Nevertheless, he was one of a small group of miniature painters active in late 18C USA.

An interesting aspect of the miniature is the sophisticated frame, in gold with an intricate hair-work reverse.

With Sully dying in 1804, this is unlikely to date later than 1804. It shows that at that time, case making skills in USA were the match of those in Britain (although in this instance the bezel and hence glass are loose).

Some cases and parts were imported from Britain at this point, so it can be difficult to tell British and American cases apart.

However, by two years later, in 1806, there was a complete divergence of style.

British cases continued in a similar manner as this one, until the change to cabinet, or rectangular, miniatures around 1810-1815.

Whereas, in America, the ability to import cases and parts was adversely impacted by the trade wars relating to the American Embargo Act in various forms, resulting in the War with Britain.

Thus, American case makers had to rely on available materials and thus developed a new style, with a small window at the rear and where most miniatures were opened from the front.

I wrote about the impact of the Embargo Act on American casework a couple of years ago at 2008 - Additions and Comment: Case study - The Embargo Act of 1807 ...

There is more about Lawrence Sully and another miniature attributed to him at View 1374

Unknown - portrait of a lady

2009-11-09T13:13:00.000-08:00

Many miniature portraits are unsigned. Sometimes it is easy to pick the artist by their style. In other cases it is difficult and different people can have different opinions.

This miniature was purchased at the Dennis Auction sale in September 2009 and is a good example of varying opinions.

It had a label on the reverse, attributing it to E Tisdale (1771-?). However, I did not believe it was by Elkanah Tisdale, as it was unlike other examples of his work, including one attributed to him in this collection, see Tisdale, Elkanah - portrait of a man

From comparing the miniature with examples in the biography of Edward Green Malbone by Ruel Tolman, I was of the opinion it might be by Malbone. There are about a dozen similar examples illustrated there, some of which are shown below. They were painted between 1801 and 1803, and I would date this example to the same period.

Hence, I decided it was worth the bidding risk. In the event the opinion of a kind expert is that the portrait is unlikely to be by Malbone.

Comparison of the eyes, background and modeling will show that they are by different hands. Look especially at the placement of the eyes. Malbone just doesn't place them at an angle as in your lady. Look at this pic as well as the pics on your blog...the eyes are all on a relatively even keel. The exception to this is when Malbone painted the face in partial profile, which he usually did with the head slightly inclined forward. In that case the eyes, of course, have to be on a slight angle. Frankly, your woman looks very English (and as you said, it doesn't look like Tisdale).

However, sooner or later a collector needs to take a personal risk over an attribution. Sometimes that will be correct, as with a recent purchase of two unsigned miniatures by Nathaniel Rogers, on other occasions there may be disappointment, but it is only by handling many miniatures and having a good reference library that one can learn to differentiate artistic styles. 1375

Being initially largely self taught, Malbone did change his style during his short career.

There is one other miniature by him in this collection, where the attribution has been confirmed by a kind expert.

It is a little earlier in date and stylistically less mature, I think it dates from around 1796.

See Malbone, Edward Greene - portrait of a man

The pose is similar and the cheeks have the same bluish tone. 730

O'Brien, Claudia Veva - portrait of Vinnie Brown

2009-06-04T19:23:00.000-07:00

A previously unrecorded American artist painted this miniature portrait.

It is signed on the front "V O'Brien" and the note inside reads "1906 - Miss Vinnie Brown - Minneapolis - by Veva O'Brien".

After some research it appears the artist is Claudia Veva O'Brien (7 May 1878 - 11 May 1949) who was born at Liberty, Montgomery, Kansas.

She was the daughter of John O'Brien (30 Jan 1841 - 13 Jan 1905) and Anue [Anne?] Jane Broughton (21 Des 1852- 25 Apr 1940) who were married 11 March 1870. Claudia had three brothers, Oscar, Edwin Enoch, and William.

In the 1881 census, Claudia is named Claudy OBrian and her father was a farmer at Liberty. The census took place before her brothers were born, but a sign of the times, is that her parents had a servant, Shella Bell who was only eleven years old.

It seems Claudia never married.

It has been harder to find anything out about the sitter, Miss Vinnie Brown.

Probably her name was Virginia Brown and she was born around 1885.

Although it is hard to see in the image, the reverse of the case is inscribed. "Mamma from Vinnie Xmas 1905" 1367

Unknown - Marquis de Lafayette

2009-01-19T13:48:00.000-08:00

This miniature portrait is believed to be of Marie-Joseph Paul Yves Roch Gilbert du Motier, Marquis de la Fayette (or Lafayette) (6 September 1757 – 20 May 1834) who was a French military officer born in the province of Auvergne in south central France.

Lafayette was a general in the American Revolutionary War and a leader of the Garde Nationale during the French Revolution.

As an interesting miniature it was kindly offered to this collection and the opportunity to acquire it was much appreciated. It is an unusual item and contact from experts familiar with portraits of the Marquis de Lafayette would be welcomed.

Some collectors completely discount old inscriptions on miniatures. My own feeling is to regard such inscriptions as clues and give them the benefit of the doubt, until they seem to be proved or disproved. Naturally proof can rarely be found, but even aside from that an inscription is part of the history of a miniature.

Additionally, one does not know whether future scientific advances will enable proof of the origin of an item. For example, it may one day be possible to readily identify a sitter in a miniature from a lock of their hair.

The artist is currently unknown. It is cased in a folding leather case which may be from 1825 or perhaps a little later. Unfortunately, there is no provenance, but the miniature did come from a collector who had very many interesting miniatures. Several of which have been previously, and fortunately, acquired for this collection, they include five of identified sitters.

Behind the miniature is a lock of hair, tied with a ribbon and said to have belonged to Lafayette. Two views of the lock of hair appear below.

The rear of the miniature is inscribed with writing which is hard to interpret, but appears to read as his full name;

"Lock of hair from / Lafayette / Marie Joseph Paul / Yves Roch Gilbert / from life / 182."

The last numeral of the date is too faint to even guess.

Any help in identifying the artist or circumstances of the miniature would be very much appreciated.

It is possible it is a copy of a portrait of Lafayette from the time, but so far it has not been possible to locate an original.

A number of portraits relating to Lafayette painted later in his life and around the time he visited America are shown below, but the poses are all different.

There is some question about the length of the sideburns, which do not appear to be completely consistent. However sideburns were only popular for a short time and several of the portraits below were painted in France at different times in his life.

Until a similar pose can be located, it seems reasonable to accept this miniature as an original.

Naturally, one needs to accept the lock of hair with some caution.

If any institution is interested in testing the DNA of a strand of the hair with any known locks of hair from Lafayette, I am very willing to co-operate with such examination.

In the American Revolution, Lafayette served in the Continental Army under George Washington. Wounded during the Battle of Brandywine, he still managed to organize a successful retreat.

He served with distinction in the Battle of Rhode Island. In the middle of the war, he returned to France to negotiate an increased French commitment.

On his return, he blocked troops led by Cornwallis at Yorktown while the armies of Washington and Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, prepared for battle against the British.

He returned to France and, in 1788, Lafayette was called to the Assembly of Notables to respond to the fiscal crisis.

Lafayette proposed a meeting of the French Estates-General, where representatives from the three traditional classes of French society—the clergy, the nobility and the commoners—met.

He served as vice president of the resulting body and presented a draft of the Declaration of the Rights of Man and of the Citizen.

Lafayette was appointed commander-in-chief of the French (Garde nationale) National Guard in response to violence leading up to the French Revolution.

During the Revolution, Lafayette attempted to maintain order, for which he ultimately was persecuted by the Jacobins.

In 1791, as the radical factions in the Revolution grew in power, Lafayette tried to flee to the United States through the Dutch Republic.
He was captured by Austrians and served nearly five years in prison.

President James Monroe invited Lafayette to visit the United States from August 1824 to September 1825.

The visit by Lafayette was, in part, to celebrate the nation's 50th anniversary.

During his trip, he visited all of the American states and travelled more than 6,000 miles.

Lafayette arrived from France at Staten Island, N.Y., on 15 August 1824, to an artillery salute.

The towns and cities he visited, including Fayetteville, North Carolina, the first city named in his honour, gave him enthusiastic welcomes.

On 17 October 1824, Lafayette visited Mount Vernon and George Washington's tomb.

On 4 November 1824, he visited Jefferson at Monticello, and on the 8th he attended a public banquet at the University of Virginia.

In late August 1825, he returned to Mount Vernon.

A military unit decided to adopt the title National Guard, in honour of Lafayette's celebrated Garde Nationale de Paris.

This battalion, later the 7th Regiment, was prominent in the line of march when Lafayette passed through New York.

He then returned to France in September 1825 on the frigate USS Brandywine.

Late in the trip, Lafayette received honorary United States citizenship.

Lafayette was feted at the first commencement ceremony of George Washington University in 1824.

He was voted, by the U.S. Congress, the sum of $200,000 and a township of land.

At the time of France's July Revolution of 1830 Lafayette declined an offer to become the French dictator.

Instead he decided to support Louis-Philippe.

Lafayette died on 20 May 1834.

He was buried in the Picpus Cemetery in Paris, under soil taken from the American Revolutionary War battlefield of Bunker Hill.

Locks of Hair

In the 18C, it was not unusual to preserve a loved one’s lock of hair.

For example, as with the example her, when Rebecca Greenleaf initially refused Noah Webster’s (1758-1843) proposal of marriage and was about to return to her home in Boston, in June, 1787, Webster wrote to her, "Without you the world is all alike to me; and with you any part will be agreeable."

"As a pledge of my sincerity, accept a lock of hair, and keep it no longer than I deserve to be remembered. You must go, and I must be separated from all that is dear to me; but you will be attended by guardian angels and the best wishes of your sincere and respectful admirer."

At the end of the 18C it became fashionable to insert hair decorations in the reverse of miniature portraits and later still to have hair ornaments made. 1365

Unknown - portrait of John Shubael Bell

2009-01-11T18:00:00.000-08:00

Some interesting American history has emerged while researching this miniature portrait.

It was acquired via an absentee bid at a live auction in Massachusetts. The auction photos are showing below, with a piece of paper glued across the reverse, which thus largely concealed the hair decoration.

The auction description was; "MINIATURE PORTRAIT ON IVORY OF A GENTLEMAN - 2nd Quarter of the 19th Century. Unsigned. Braided hair back. Marked on reverse "John Sheubel Bell", 2" x 10 3/4".

The cost including buyer's commission and shipping was $350, so it was an inexpensive miniature, for the history now found to be associated with it.

Since the purchase, several people in Boston have been very kind and helpful in responding to emailed questions about the sitter and supplying information, for which I am grateful.

Fortunately, in researching the miniature before it arrived, the name Shuebel was a great help, although it has to be said that even for such an unusual name the historical records show a great variety of spellings.

Due to transcription errors and non-standard spelling in the 18C and early 19C, there is sometimes, more than one spelling of a name.

However, Shubael was a challenge to transcribers, as evidenced by the following wide range of spellings, each different to the spelling on the stuck-on note.

- Marriage Notices for the Whole United States, 1785 - 1794>
Bell, Shubael, last Sunday evening, Mr. S.B. To Miss Betsy Robinson. (Wedding, March 19, 1788.)

- Massachusetts Marriages 1762 - 1809
Bell, Shubeal & Joanna Smith Masters, July 26, 1789 by Rev. Samuel Parker
Bell, Shurbeal & Ann Hewes, Oct. 16, 1808 by Rev. Asa Eaton Boston
Bell, Shurbael & Ann Hewes Oct 16, 1808

- 1790 Federal Census, Boston, MA
Bell, Shubal - one male and four free females

- 1800 City Directory for Boston, Massachusetts
Bell, Shubael ~ deputy sheriff, office, Court Street

- 1805 The Boston Directory
Bell Shubael - deputy sheriff, office and house, Court Street

Thus there were sufficient references to identify him as Shubael Bell (1766-10 May 1819) originally trained as a housewright and carpenter, but at his death, Deputy Sheriff of Boston.

Also found on the Internet, was another portrait of Shubael Bell. This was an important find as, being obviously of the same person, although at a different age, it confirms his identity.

Unfortunately, so far a better image has not been located, so a poor version of the portrait appears here. The image is of an oil portrait of Shubael Bell and it appears to be a reproduction of a photograph from a book in a lodge history. The oil is by John Johnston and is recorded in the SIRIS inventory. It is described as; 28" x 22", natural brown hair, white stock and tie, blue coat and waistcoat, brass buttons. There is also an oil copy of the Johnston portrait by Daniel J Strain. However, at present the locations of the oils are unknown.

The photographic image of the Johnston oil can be seen at the website of St. John's Lodge of Ancient Free and Accepted Masons, Boston, see; stjohnsboston1733.org/PAST_MASTERS.htm
where Shubael Bell was recorded as having held several important positions in the Lodge in 1802-1805, and 1809, including; Past Senior Grand Warden, Past Junior Grand Warden, and Past District Deputy Grand Master.
After the miniature arrived, it was possible to carefully open and clean the case, and remove the stuck-on label, (which was then put inside the miniature). The rear label was hard to read, but appears to be; "John Sheubel Bell - gt. gt. uncle of K(?) P(?) Spaulding". The front and rear glasses were very dirty. The "exploded" view can be seen here.

Discovered loose inside, as they were not apparent before it was opened, were the gold initials "JSB". These initials, taken with the wording of the stuck-on label, proves that his full name was in fact; John Shubael Bell, even though historical records give his name as just Shubael Bell.

Later research indicates that he most likely decided to use his second name Shubael, to distinguish himself from his father, John Bell, and also from his brother, who was named John Briggs Bell. His parents, John Bell and Rachel Briggs were married on 20 Sep 1753 in Boston. There were nine children, but the names of only five are known; Elizabeth Bell born 22 Sep 1754, John Briggs Bell born 1756, Rachel Bell born 18 Jul 1758, and twins, Mary Bell and John Shubael Bell born in 1766. [Later, now all nine children are known, see below] See Eulogy below and Family

After cleaning the glass and reassembling the miniature, it looks much more presentable.

However, the initials were not the only discovery about John Shubael Bell. As shown in this old postcard from about 1930, Shubael Bell generously gifted a marble bust of George Washington to Christ Church in Boston.

[As an aside, the discovery as above, of the initials JSB inside the miniature, seems to suggest that a number of history books and references, such as the following, will need to be rewritten to give John Shubael Bell his full name!]

The inscription on the postcard reads; "The Bust of Washington - Presented to Christ Church By Shubael Bell Esq. Senior Warden 1815 - Standing in a niche made by the window through which sexton Robert Newman escaped after hanging the lanterns as directed by Paul Revere - This monument is called the first memorial to Washington erected in a public place and was probably modelled from a plaster bust known to have been made by Christian Gulliger of Boston in 1790."

The meaning of two lanterns has been memorized by countless American schoolchildren for generations. "One if by land, and two if by sea," is from Henry Wadsworth Longfellow's poem, "Paul Revere's Ride". One lantern was to notify Charlestown that the British Army would march over Boston Neck and the Great Bridge, and two were to notify them that the troops were taking boats across the Charles to land near Phips farm.

However, those same generations of countless American schoolchildren, may not have looked upon Shubael Bell with too much fondness, if they had realised that in 1815, Shubael Bell and Rev. Asa Eaton started the first Sunday School for children in America, near Christ Church, at the old Academy next north of the Church.

Christ Church was built in 1723 and is now referred to as Old North Church. The Church has kindly confirmed that the bust is still there; "The bust of Washington is still on display in the sanctuary, as is the painting of "Christ at the Last Supper" by Boston artist John Ritto Penniman (1782-1841) that Bell also donated to the church. In addition, Bell is buried in the crypt below the church and is one of the few who has his name engraved on the door to his tomb."

However, it appears from this more recent photo, that perhaps the window niche has been remodelled. For more about the history of the church, see The Old North Church

In 1823, an appreciation to Shubael Bell was conveyed as follows; "The altar piece, with the decalogue and appropriate texts of scripture, and also the bust of Washington, were presented to the church by the late Shubael Bell, Esq., of this city, whose zeal and liberality in promoting its prosperity justly entitle him to be numbered among its principal benefactors."

The Old North Church is the oldest active church building in Boston and is a National Historic Landmark. As Christ Church, it was built in 1723, and was inspired by the works of Christopher Wren, the British architect who was responsible for rebuilding many churches in London after the Great Fire of 1666. At 53 metres high, it was the tallest building in Boston until 1810. In commenting on the bust of George Washington in the church, the Marquis de Lafayette reportedly remarked it was the best likeness of him he had ever seen.

Shubael Bell was also associated with building of The Church of the Holy Cross (from 1808 called the Cathedral of the Holy Cross). Located in Boston, and was completed in 1803, it was designed by Charles Bulfinch and was the first church built for the city's Roman Catholics.

The city's Protestants also helped fund the building of the Holy Cross Church. About $17,000 was collected, more than one-fifth donated by Boston Protestants who, it was reported, generally seemed in agreement with Shubael Bell, senior warden of Christ Church, that “no circumstance has contributed more to the peace and good order of the town, than the establishment of a Catholic Church.”

Unfortunately, the Roman Catholic Cathedral, as showing here, was demolished in 1859.

So far, the artist who painted this miniature has not been identified, although it was obviously painted by a very skilled artist. The close up, shows how the artist finely painted the lace of his neck-wear.

It is hoped to be able make an attribution with a little more research, as there were few competent miniature artists painting in Boston, between 1795 and 1805, the estimated date of the miniature.

A written eulogy to Shubael Bell records he was married twice and had no children. However, as mentioned above, there are references to three weddings for him.
1 Betsy Robinson, March 19, 1788.
2 Joanna Smith Masters, July 26, 1789.
3 Ann Hewes, October 16, 1808.

It therefore seems likely that Betty Robinson had died shortly after they were married, and Shubael then married Joanna. But Betsy had been completely forgotten, by the time of his death in 1819, when the eulogy was written.

He was a Captain in the Honorable Artillery Company, which seems to trace its history back to 7 October, 1636. Their history notes that he joined the Company in 1791 and the official history lists him as: "Capt. Shubael Bell, Boston, housewright. Deputy Sheriff and Jailer. A man of great generosity and humanity, a zealous Episcopalian, and many years a Warden of Christ's Church, supporting his favorite worship during the long period of feebleness in that society after the death of Dr Walter. He was the principal founder of St. Matthew's Chapel, at South Boston. He was very industrious, but negligent of his charges and died poor. In early life he married, but his wife soon dying, he lived a widower until far advanced in years when he married again, but never had children. He was distinguished as a Free Mason, one of the first Knights of Malta and Knight Templars in New England. He died at Boston, much lamented in 1819."

A eulogy to Shubael Bell was read on 8 June 1819 by Samuel Lorenzo Knapp (1783-1838) Eulogy delivered in Christ-Church, Boston, at the request of Saint ...

The following poem was written by an unknown poet to mark the death of Shubael Bell.

"Lines on the death of Mr. Shubael Bell, who died May 10, 1819."

What talents now are clos'd by death,
A worthy man has lost his breath,
No art could save, in slumbers rest,
Had many friends and them he blest.

Intrinsic worth, in him was found.
By many social ties were bound,
A kind Companion, sooth'd his care.
And friendship bound the happy pair.

In every circle where he mov'd.
He gain'd respect and was belov'd,
The county prison was his care,
The Prisoners lov'd and blest him there.

Humanity dwelt in his heart,
He of his substance did impart,
He took delight to help the poor.
And sent none hungry from his door.

Always in duty, calm, serene,
In faithful trust has always been,
A generous heart and humble mind,
That's not in every man we find.

The Courts, the Bench, and Bar, look round,
That pleasant Bell has lost its sound,
His good deeds speak, they give him praise,
For good attendance all his days.

Farewell dear friend, the Angels wait,
To escort thee through the Heavenly gate,
The Seraphs shout and sing and say.
One that's belov'd is here to day.

The 1904 proceedings of the Grand Lodge of Massachusetts contain the following report on his life, mostly transcribed from the Eulogy. As it is not a readily available document, the full reference to Shubael Bell has been included here.

The Recording Grand Secretary called the attention of the Brethren to a time-worn and somewhat dilapidated oil painting intended to represent the features of Captain Shubael Bell who was Senior Grand Warden of this Grand Lodge in 1808. The portrait had for many years been in the possession of Brother Bell's grandniece, (Mrs Mary E Young, widow of Rev Joshua Young, who was one of our Grand Chaplains from 1871 to 1881. The lady has loaned it to the Grand Lodge on the condition that, if any of her descendants make request for its return their wish shall be complied with.

Shubael Bell was born in Boston in 1766. He was a carpenter by trade, but at the age of thirty he was appointed Deputy Sheriff for Suffolk County by the Sheriff Jeremiah Allen and served until his death. In 1810 he was also made the jailer. Imprisonment for debt was then in full force and common practice.

In the eulogy pronounced at his funeral it is related that the office of Deputy Sheriff had "in most parts of New England been filled by coarse, boisterous and iron-hearted men. Violence and insensibility seemed to be considered at that time by most people to be indispensable in the character of such an officer.

The conduct of Mr Bell produced a general revolution in public sentiment upon this subject. He stood like the spirit of justice in the form of the angel of mercy between debtor and creditor, softening the severity of the latter and rousing the hopes and encouraging the exertions of the former. From the weight of his character, and the just reputation gained by the delicate and happy discharge of his duty, the office became respectable, and when vacancies occurred, men of worth were eager to "obtain an appointment.""

From other sources we learn that before Brother Bell became jailer, the prisoners were fed more like brutes than as human beings, the soup, which constituted their principal fare, being actually set before them in troughs. He changed all that, made a great bonfire of the troughs in the jail-yard, built a good kitchen on the premises, provided towels, bowls and spoons, dispensed clean and nutritious soups and meats, whitewashed the cells and caused the prisoners literally to shout for joy.

All this he did in spite of strong opposition. When a prisoner was discharged he would furnish him with money from his own pocket, fearing that he might be driven by hunger to commit some offence, which might cause his speedy return. It was a common occurrence for men who had been under his charge to visit him for the sole purpose of thanking him for his kindness to them.

Shubael Bell was the sixth of the nine children of John Bell and Rachel Briggs. He was a twin with his sister Mary. He married, first Joanna Smith Masters, July 26, 1789; and second, Ann Hewes, at Christ Church October 16, 1808. There were no children. His house was on Court Street, near the Court House. He was Senior Warden of Christ Church from April, 1812, until his death, in May 1819. He gave to the Church the Decalogue, which still ornaments the wall, back of the altar, in two frames, the altar piece, platform, and carpet.

In 1815 he also gave the bust of Washington, which the family have always believed to be by Houdon and to have been bought in Philadelphia, a duplicate of one now in the capitol, at Richmond, Virginia. When the funeral obsequies of Washington were held in Boston, this bust was carried in the procession, and John Briggs Bell, Shubael's brother, carried the open Bible, as Chaplain, wearing a Masonic apron which is now in the possession of Phoenix Lodge, of Hanover, Mass.

In June, 1815, Brother Bell assisted Rev. Brother Asa Eaton, the rector of Christ Church, in establishing the first Sunday school in New England. It was known as the Salem Street Sunday School and was held in the old Academy, the next building north of the Church. He was one of the founders of St Matthews Chapel, South Boston a member of the British Charitable Society, President of the Irish Association and assisted in forming the Massachusetts Fire Society.

He was initiated in St John's Lodge of Boston, in 1794, secretary in 1797 and 1798, Junior Warden in 1799 and 1800, Senior Warden in 1801, W. Master from 1802 to 1805, and again in 1809, Treasurer in 1810 and 1811, Junior Warden again in 1814 and 1815, and Senior Warden again in 1818.

He was admitted to membership in St Andrew's Chapter, January 28, 1801, and served as its Treasurer from 1805 to 1808, and as High Priest in 1808 and 1809. He was one of the earliest members of Boston Encampment of Knights Templars.

In the Columbian Sentinel, of Boston, edited and published by Benjamin Russell, Past Grand Master, there appeared in the issue of Wednesday June 2, 1819, the following, among the death notices;
"In this town, on Sunday morning, Shubael Bell, Esq. aged 53, Deputy Sheriff and Prison Keeper of Suffolk. All his duties as a public officer, as a member of the Episcopal Church, as an associate of numerous Charitable Societies, as a relative and a citizen, were zealously and faithfully performed. His mind was cultivated by study; his heart enlarged by practical benevolence; his whole life was a scene of active usefulness and his death is universally lamented. "He who has long had constantly in view the worst of mankind and is yet eminent for the humanity of his disposition, must have had it originally in a great degree and continued to cultivate it very carefully." His remains were privately entombed in Christ Church yesterday morning, at his own request."

Some time before his death he bought the tomb directly under the porch of Christ Church, where his bones rest with those of his ancestors which he had removed from the graves in Copp's Hill Burial Ground. On the 8th of June following his death a memorial service was held in Christ Church and a eulogy was delivered by Brother Samuel L. Kanpp, which was published by St John's Lodge and a copy is preserved in the Library of this Grand Lodge.

The family relate the following incident, as showing his strong sympathy with those under his charge : One of the prisoners was condemned to die and Captain Bell was in the habit of reading prayers with him at night. A strong effort was made to have him pardoned, which resulted in a reprieve being granted, but he was finally hung. Captain Bell was of opinion that it was an act of cruelty to reprieve the man, and said that he thought another such case would kill him. Not long after, another case did occur, and was believed to have keen a principal cause of the death of the kind-hearted jailer.

The portrait exhibited to the Grand Lodge was painted by an artist be the name of Johnson. To restore it to good condition would require much labor and a long time. It is quite possible that it may be decided to be inexpedient to attempt restoration, but rather to be content. with a copy which very probably may be made to furnish a better idea of the man than the time-worn original affords.

For more about Benjamin Russell, the editor of the Columbian Sentinel mentioned above, and also his younger brother John Russell, see Williams, Henry - portrait of John Russell

This collection includes this miniature portrait of John Russell (<1761-1832) painted by Henry Williams. John Russell was also an editor, at one time of "J Russell's Gazette."

It is interesting to think of Shubael Bell and John Russell now meeting again, having not seen each other for two hundred years. One wonders what they make of the world! 1363

Later addition. A kind visitor who is a great-great-great niece of John Shubael Bell has contacted me with more information about the family; "Here are the words from my great, great Aunt, Mrs. John W. Bacon aka Amelia Amanda Jeffers, that she dictated to her nephew, Frederick Wallace Jeffers (1854-1935), in a six page document entitled "HISTORY OF THE BELL FAMILY". The original manuscript is in the New England Historical Society, Boston, Massachusetts.

“Your [Frederick Wallace Jeffers] great, great grandfather John Bell was born on the passage from England to Pennsylvania; his parentage is lost, and date of birth. He was married October 11, 1753 to Rachel Briggs, by whom he had nine or more children (married by Rev. A. Elliot.)

1. Elizabeth Bell, born 1754, died Dec. 18, 1838. She married Thomas Warland and was grandmother to Mrs J. Young.
2. John Briggs Bell, born Sept. 1756.
3. Rachel Bell, born 1758. She ran away with a British Officer and was married in England.
4. Dorothy Bell, born Nov. 1759, died Sept 1838 aged 74. She married James Tucker and was your [Frederick Wallace Jeffers] great grandmother.
5. Ephraim Bell, lost at sea.
6. Twins, Mary and Shubel Bell, born 1766. Shubel died June 1819.
7. Twins Daniel and Rheuben Bell

Rachel Briggs Bell died the night of the Boston Massacre March 5, 1770 when the bells were rung and they called in the streets, instead of buckets carry your guns! She being very sick at that time the fright hastened her death. John Bell died January 29, 1820.

Seven months after his first wife’s death he (John Bell) married Mary or Mollie Robbins of Littleton, by whom he had eight or nine children, one pair of twins John and Sallie Bell. John was married in Washington, no heirs. Sallie married Stockbridge Josselyn. Ephraim and Daniel Bell were bachelors. Rebecca Bell married a Benton had one child a daughter. Three children died in infancy.”

Meucci, Antonio - portrait of J Leache

2008-12-27T12:05:00.000-08:00

This miniature portrait is by Antonio Meucci, (Aka Anthony Meucci) (?-1852). It is signed on the right edge "Meucci".

Meucci was born in Italy, but emigrated to the United States in 1818, where he painted miniatures between 1818 and 1827, before leaving for Central and South America. He died in Peru in 1852.

He worked in various American cities including New York, Portland (Maine), Richmond, Baltimore, Charleston, Salem MA, and New Orleans.

His wife Nina Meucci was also a miniature painter and in 1824 they exhibited four miniatures at the American Academy of Fine Arts.

On the reverse, this miniature is inscribed "A. Leache Age 17 yrs 1825", so it is definitely from his American period.

However, to date, it has not been possible to identify the sitter more closely.

As with other European artists, Meucci's European training is evident in the use of gouache, rather than water color, and also in the plain opaque background.

There is another miniature in this collection by Meucci. It is of an unknown man and can be seen in more detail at American Miniature Portraits - 1: Meucci, Antonio - portrait of a man

Meucci often used pink tones in his backgrounds, as can be seen in both these examples. 1361

A descendant of Meucci who lives in Chile, has kindly provided a lot of background information about Meucci. It can be seen, together with many more examples of his work, at Guest Gallery: Chilean collector - Antonio Meucci portraits

Carpenter, Meriva - portrait of self

2008-11-18T11:24:00.000-08:00

This miniature portrait is very special on several counts. Firstly, it is by an early 19C female artist, secondly it is clearly identified as a self portrait, and thirdly, it has now been reunited with another self portrait by the same artist which was acquired five years ago.

As one can imagine, it was quite an exciting moment to reunite the two portraits.

The artist and sitter is Meriva Carpenter (28 April 1802 - 24 July, 1887).

The inscription on the reverse reads; "Meriva. daughter of Doct. Ruggles and Juliana Pierce Carpenter was born April 28, 1802 in Ellington, Tolland Co, Conn. Removed 1814 to Greenwich, Hampshire Co. Mass. Married in Tolland Feb 27, 1820 to Eli, son of Doct. Eli and Abigail Baker Carpenter of Orford, Grafton Co. New Hampshire. Removed March 1820 from Greenwich to Homer, Cortland Co. NY for a permanent residence. Painted by herself, Homer, Cortland Co. NY."

Research has shown that Eli Carpenter was a cousin of Meriva and she married him when she was only 17 years and ten months old.

It is a little hard to pick her age in the miniature, but it would seem to have been painted around 1820. Perhaps as her hair is down, it was painted when she was 17, just before her marriage.

Meriva likely added the actual inscription at a much later date, as the writing is so similar to her later self portrait of 1838.

Both miniatures can be seen in the combined image, the earlier one having a sight size of 38mm x 50mm and the later one being 55mm x 65mm.

Both cases are much later than the dates of the miniatures, but it does seem likely that Meriva re-cased the miniatures herself, some years after she painted them.

Also showing are the inscriptions from the 1838 self portrait, which in addition to the portrait, contains a sachet of Meriva's hair, identified in her own hand.

The 1838 inscription is very similar to the 1820 inscription and reads; "Meriva Carpenter - painted by herself - 1838. Meriva daughter Dr Ruggles and Juliana Pierce Carpenter was born April 28, 1802 in Ellington Tolland Co. Conn. Married to Eli, Feb 1820 son of Dr Eli and Abigail Baker Carpenter of Orford, Grafton Co. New Hamps here at Tolland, Tolland Co, Conn. Then moved in March 1820 from Greenwich, Hampshire Co. Mass. to Homer, Cortland Co NY for a permanent home".

More information about Meriva, including miniature she painted of her parents can be seen at Carpenter, Meriva - portrait of self

The Cincinnati Art Museum has a miniature portrait of Zander Carpenter (2004.404) painted by Meriva Carpenter. 719, 1358.

Unknown - portrait of a lady with feathers

2008-08-31T13:57:00.000-07:00

Increasingly, I have a reluctance to acquire miniature portraits for this collection where the sitter is unknown, and the artist is also unknown.

This is because the research aspects of collecting provide a fascinating way of studying social and political history and so have become a much more important part of the overall process of collecting.

However, it is hard to pass up the opportunity to acquire pretty ladies, especially when they are wearing elaborate and elegant clothes!

Especially when the artist appears to be talented.

It is therefore a great pity that both the sitter and artist for this portrait are unknown.

The sitter gives an excellent appreciation of fashion for the wealthy who lived in America, I think around 1910 to 1920, although my estimated dates may be a little out.

Thus comments from any visitor, who is able to date the miniature a little more precisely from the clothing, would be welcome.

If a date around 1912 were considered appropriate, one could well imagine her being a passenger on the Titanic which sank on its maiden voyage in that year.

It is fascinating how the artist has been able to convey the impression of glittering diamonds on a two-dimensional surface.

Her feathers are set into a diamond pin, she wears a diamond and pearl choker, a diamond necklace and earrings, a diamond bracelet, a dress covered with pearls, and has a large solitaire diamond on her little finger.

The pose must have been especially selected to draw attention to the diamond ring. 1346

Archambault, Anna M - portrait of Adaline Hall Wignall

2008-08-06T12:42:00.000-07:00

This portrait is of Adaline H Wignall (sometimes Adeline Wignall) (15 Apr 1828-27 May 1873), mother of Charles F Wignall (28 Dec 1856->1910) and the first wife of James Charles Wignall (12 Dec 1829-14 Jun 1900) who she married in Philadelphia on 13 May 1855.

The artist
The miniature is by Anna Margaretta Archambault (12 Feb 1857-1956), (aka A. Margaretta Archambault) a well known miniature portrait painter in the revival period.

In the 1850 census she is described as Maggie, aged 3 and is living in Philadelphia with her parents Archile Lucien Archambault 39, a machinist and Henritta B Archambault 35 and her brothers Thomas 8, and Charles 6. There is also an apprentice and a servant living in.

There are other census references to the family, there is not a lot of extra information, although in 1880 no longer Maggie, but now A Margaretta Archambault 23, is a school teacher.

Her passport application of Nov 2, 1891, states her father was native born American. She also stated her date of birth as 23 Feb 1857. She described herself as: artist, 5ft 4ins tall, high forehead, brown eyes, pointed nose, medium mouth and chin, an oval face with dark complexion and dark hair.

Her mother Henrietta A Archambault (6 Apr 1821-?) made a passport application on the same day. She had been born on 6 Apr 1821 and her father was also a native born American. Henrietta was even shorter, but must have been conscious of her height as she stated she was 5ft, plus one-quarter inch!

Anna and Henrietta appear to have been accompanied on their travels by Eleanor L Levy aged 47, who made a passport application at the same time and was a witness to the other two applications.

Anna Archambault was the 1908 founder of the Philadelphia School of Miniature Painting and was also secretary of the Pennsylvania Society of Miniature Painters. For details of other miniature art societies, see Miniature Art Societies of the Revival Period

In the 1910 census, Anna was living in Philadelphia with her father Achile Archmbault 89, her brother Thomas Archambault 58, who was a jeweller, and her nephew Archile Archambault III aged 14.

In 1924 she authored "A Guide Book of Art, Architecture and Historic Interests in Pennsylvania". Anna also travelled to Europe at least one other time, arriving back in New York on 14 Sep 1930 giving her address as 1714 Chestnut St, Philadelphia.

Her extensive private papers are available for research. They date from 1876-1945 and include her personal correspondence as portrait painter, miniaturist, author, and educator, as well as sketches, photos, and correspondence on her work in miniatures.

Also included are correspondence and notes for Guide Book of Art, Architecture, and Historic Interest in Pennsylvania (Philadelphia, 1924), which she edited for the Art Committee of the State Federation of Pennsylvania Women, histories of the counties of Pennsylvania, and clippings and illustrations to accompany the histories.

In the papers there is a reference to Charles F Wignall, which presumably refers to the painting of this miniature, see Anna Margaretta Archambault selected papers, [ca. 1880-1946 ...

For another, earlier miniature of 1897 by her in this collection, see American Miniature Portraits - 20C: Archambault, Anna - portrait ...

The Smithsonian American Art Museum holds one miniature by her, a 1913 portrait of Miss Clementine Dalcour in Mourning .

The miniature is housed in a carved ivory frame and has an ivory easel back. These ivory frames are not common, but examples do appear from time to time. It would have been imported from China or Japan.

Although dated 1912, there is a comment that the miniature was copied from a photograph taken about 1850.

Anna Archambault was awarded the Miniature Painters Medal of Honor in 1922 and the Emily Drayton Taylor Gold Medal in 1939. She exhibited for many years at the annual PAFA exhibitions, even as late as 1945.

The sitter
In the 1860 census for Philadelphia, there is a reference to Francis Wignall 67, with assets of $2500 who is living with his son James Wignall 30 and daughter in law, Adaline Wignall 34. Also Charles 3 and John ten months. The occupation of Francis in 1860 is not given, but from the occupation of surrounding residents both Francis and James appear to have been boat-builders.

By 1870 there is no evidence of Francis, but Fanny Wignall aged 60 is the head of the house. However, it is possible Francis and Fanny are the same person, but subject to enumerator errors. James is now a shipwright and he and Adaline have three sons at home: Charles F 13, Samuel H 10, and James H 7.

In 1880 Charles is a clerk living with James Wignall and his two brothers, but presumably his mother Adaline has died.

By 1900 James Wignall has remarried to Mary Clark, their marriage being in 1892. However Charles as a bank clerk is still living at home, along with his step sister Clara A Clark and his step brother John J Clark who at this stage is a boat-bulder. Mary discloses having had five children, but with only two still being living in 1900.

The 1910 census shows a similar same family group except that James had died in 1900. Charles is now a banker and John J Clark describes himself as a theatrical actor. More about him can be see as the actor Jack J Clark, see Jack J. Clark - Wikipedia, the free encyclopedia and http://www.things-and-other-stuff.com/movies/profiles/john-j-clark.html

It was shortly after this in 1912, that Charles must have commissioned the miniature of his mother, based upon an early photograph. Possibly influenced by his father's death and perhaps also a deteriorating condition of an 1850 photograph, but so he could still have her portrait.

As a banker Charles had an article published in a trade magazine, "Method of Bank Clearings" by Charles F. Wignall, (American Counting Room, April, May, June 1884, pp. 193-8) - see The Bookkeepers' Beneficial Association of Philadelphia: an early ...

It is possible Charles is the CF Wignall/or if not, is related to the Charles Francis Wignall mentioned in "Colonial and Revolutionary families of Pennsylvania". See also Wignall: Colonial era-present and James C. Wignall married Mary A. ( White) Clark

Charles seems not to have married. 1345