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LIBRARY
M.KNOEDLER & CO.
556-8 Fifth Ave.
New York
ON. FREE PUBLIC VIEW
AT THE AMERICAN ART GALLERIES
MADISON SQUARE SOUTH, NEW YORK
BEGINNING SATURDAY, APRIL 17th, 1920
FROM 9 A.M. UNTIL 6 P. M.
AND CONTINUING UNTIL THE DAY OF SALE
THE WIDELY KNOWN COLLECTION
OF THE CONNOISSEUR, THE LATE
FRANK BULKELEY SMITH
OF WORCESTER, MASS.
TO BE SOLD AT UNRESTRICTED PUBLIC SALE
BY DIRECTION OF THE ADMINISTRATORS
IN THE GRAND BALLROOM OF
THE PLAZA HOTEL
FIFTH AVENUE, 58th to 59th STREET
ON THURSDAY AND FRIDAY EVENINGS
APRIL 22nd AND 23rd
BEGINNING PROMPTLY AT 8.15 O'CLOCK
ence
EN ee esa Lie ee
ILLUSTRATED CATALOGUE
OF THE
REMARKABLE AND WIDELY KNOWN COLLECTION
OF
EARLY AMERICAN AND BRITISH
PORTRAITS, LANDSCAPES AND
HISTORICAL PICTURES
FORMED BY THE CONNOISSEUR, THE LATE
FRANK BULKELEY SMITH
OF WORCESTER, MASS.
TO BE SOLD AT UNRESTRICTED PUBLIC SALE
BY DIRECTION OF THE ADMINISTRATORS
ON THE EVENINGS HEREIN STATED
IN THE GRAND BALLROOM OF
THE PEAZACHOTEE
THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS
ASSISTANTS, MR. OTTO BERNET AND MR. H. H. PARKE, OF
THE AMERICAN ART ASSOCIATION, MANAGERS
NEW YORK
1920
THE AMERICAN ART ASSOCIATION
DESIGNS ITS CATALOGUES AND DIRECTS
ALL DETAILS OF ILLUSTRATION
TEXT AND TYPOGRAPHY
CONDITIONS OF SALE
1. Any bid which is merely a nominal or fractional advance may
be rejected by the auctioneer, if, in his judgment, such bid would be
likely to affect the sale injuriously.
2. The highest bidder shall be the buyer, and if any dispute arise
between two or more bidders, the auctioneer shall either decide the same
or put up for re-sale the lot so in dispute.
3. Payment shall be made of all or such part of the purchase
money as may be required, and the names and addresses of the pur-
chasers shall be given immediately on the sale of every lot, in default
of which the lot so purchased shall be immediately put up again and
re-sold.
Payment of that part of the purchase money not made at the
time of sale shall be made within ten days thereafter, in default of
which the undersigned may either continue to hold the lots at the
risk of the purchaser and take such action as may be necessary for
the enforcement of the sale, or may at public or private sale, and
without other than this notice, re-sell the lots for the benefit of such
purchaser, and the deficiency (if any) arising from such re-sale shall
be a charge against such purchaser.
4. Delivery of any purchase will be made only upon payment
of the total amount due for all purchases at the sale.
Deliveries. will be made on sales days between the hours of 9
A. M. and 1 P. M., and on other days
hours of 9 A. M. and 5 P. M.
Delivery of any purchase will be made only at the American Art
except holidays—between the
Galleries, or other place of sale, as the case may be, and only on pre-
senting the bill of purchase.
Delivery may be made, at the discretion of the Association, of
any purchase during the session of the sale at which it was sold.
5. Shipping, boxing or wrapping of purchases is a business in
which the Association is in no wise engaged, and will not be performed
an aH ao sei ata eSATA pi detaed inde sodatath ani aieSledaaswiasiabaallsldshtesdeterlaiiadapioeielatlei AUN. 5. menciamcitinecipeemmanesteesi -
by the Association for purchasers. The Association will, however,
afford to purchasers every facility for employing at current and
reasonable rates carriers and packers; doing so, however, without any
assumption of responsibility on its part for the acts and charges of
the parties engaged for such service.
6. Storage of any purchase shall be at the sole risk of the pur-
chaser. Title passes upon the fall of the auctioneer’s hammer, and
thereafter, while the Association will exercise due caution in caring
for and delivering such purchase, it will not hold itself responsible if
such purchase be lost, stolen, damaged or destroyed.
Storage charges will be made upon all purchases not removed
within ten days from the date of the sale thereof.
7, Guarantee is not made either by the owner or the Association
of the correctness of the description, genuineness or authenticity of any
lot, and no sale will be set aside on account of any incorrectness,
error of cataloguing, or any imperfection not noted. Every lot is
on public exhibition one or more days prior to its sale, after which
it is sold “as is” and without recourse.
The Association exercises great care to catalogue every lot cor-
rectly, and will give consideration to the opinion of any trustworthy
expert to the effect that any lot has been incorrectly catalogued, and,
in its judgment, may either sell the lot as catalogued or make mention
of the opinion of such expert, who thereby wouid become responsible
for such damage as might result were his opinion without proper
foundation.
AMERICAN ART ASSOCIATION,
American Art Galleries,
Madison Square South,
New York City.
CATALOGUE
i
FIRST EVENING’S SALE
THURSDAY, APRIL 22, 1920
IN THE GRAND BALLROOM
OF THE PLAZA
BEGINNING Av 8.15 O’CLOCK
UNKNOWN ARTIST
(Wood)
I—THE PURSUING SATYR Aw Etlo Liscbll
95, < Height, 914 inches; width, 7 inches
Two small, full-length nude figues. A nymph attempts to climb a tree
in her effort to escape from the satyr who, approaching from the left,
attempts to assault her. Blue sky at the back
BYZANTINE SCHOOL
29—AN IKON: THE MADONNA AND CHILD
(Wood)
Height, 131, inches; width, 1014 inches Ao 2
3 0, af
Tr Madonna, in fanciful Greco-Byzantine robes and with a large cir-
cular nimbus, holds the Infant on her left arm. Greek inscription of
“The Mother of God” in the roundels at the back. The whole compo-
sition is contained within a brown and an outer red border.
THOMAS STOTHARD, R.A.
Eneusu: 1'7755—1834
3—A MIDSUMMER NIGHT’S DREAM
ho Se bua sdiurard
Height, 9 inches; width, 684 inches
A NuDE figure reclines on her side in a blaze of light in a bower. She
makes a gesture to a cupid on the left; another is above, on the right.
UNKNOWN
Earzty American ScHoou
4—PORTRAIT OF A YOUNG MAN
(Panel) Wd }. “Blinrek
3 re) = Height, 934 inches; width, 81 inches
Hair-tenern seated, facing the front, shoulders turned slightly to
left. A young gentleman of high and broad forehead, large eyes and
nose, smooth-shaven and with thick brown hair swept lightly above his
brow and brought easily forward beside his temples. He is in formal
dress, toward the second quarter of the nineteenth century, with black
coat and double-breasted cream-colored waistcoat, choker collar and
heavy black cravat. Dark neutral background of greenish-blue.
UNKNOWN
Earzty American ScHooL
5—PORTRAIT OF A MAN VOT S Vacca yl.
30. Height, 10 inches; width, 8 inches
A MAN in middle life, of much dignity of bearing, seated and facing the
left, three-quarters front, and observed at half-length against a neutral
background of light grayish-brown. His sandy hair has retreated from
his already high forehead, and except for short side-whiskers he is
clean-shaven; complexion warm. He wears a blue coat with high-
rolled collar, white collar with choker-wings and black cravat, and white
waistcoat which opens low.
HENRY INMAN
American: 1801—1846
6—-PORTRAIT OF A MAN
(Panel) ~ |
Ste Height, 16 inches; width, 12 inches a. Ww). mes
THREE-QUARTER-LENGTH portrait of a gentleman in full middle life,
seated and facing the spectator, to right, three-quarters front. He is
of high and broad forehead and large features, with agreeable expres-
sion and thoughtful, and he holds a book in both hands, resting on
his lap, a finger between the leaves. Smooth-shaven after the fashion
of his time, curly side-whiskers connecting with his dark hair disappear
within his choker collar, about which is worn a deep black stock. Black
coat and velvet waistcoat, and buff trousers.
aa
ATTRIBUTED TO
SIR JOSHUA REYNOLDS
Encuiso: 1723—1792
7—A YOUNG GIRL C We la € ie
/o0. a Height, 1314 inches; width, 11 inches
Busz, leaning forward; brown hair; blue eyes looking to the right. In
a red dress.
UNKNOWN
Earty American ScHoon
8—PORTRAIT OF A LADY ;
sch.
Height, 12 inches; width, 10 inches pb : Qse
RD a
Haxr-LencTH, seated; to right, three-quarters front. A lady young
but mature, with large features, and curled hair of deep mahogany-
brown hue. In a very low-necked white gown, edged with lace, green
belt, and over her arms a wrap or drapery of golden-brown. Neck
encircled by a long gold watch chain and a coral necklace. In her hair
a bunch of flowers. A companion to No. 9 and by the same artist.
UNKNOWN
Earty AMERICAN ScHOOL
9—PORTRAIT OF A GENTLEMAN |
B. ics
fo
Harr-tenern, seated; to left, with face three-quarters front. A
smooth-shaven young man with light and bushy chestnut hair, large
Height, 12 inches; width, 10 inches
features and a smiling expression. He is in the costume of the early
nineteenth century, a coat of deep greenish-blue with gilt buttons, white
choker collar and stock, and creamy waistcoat. A companion portrait
to that of the lady, No. 8, and by the same artist.
—— SAS IT ATS
JOHN COLE, JR.
British ScHoou
10—PORTRAIT OF A MAN A : Uh. Unitti
L, d Height, 121% inches; width, 108% inches
Busr portrait, to right, with face nearly full to the front; a youngish
man, with fair skin and pinkish cheeks; clean-shaven; hair of light
sandy-yellow, brushed with engaging and effective carelessness in
sweeps and curls which twist around his brow and temples. In black
with white stock. Neutral grayish background.
GUSTAVUS HESSELIUS
AMERICAN: Earty EicHrrentrH CENTURY
11—JOHN LEEDS (1705-1790) Cb Lis ti eee
— Height, 14 inches; width, 12 inches a) / -
—
Jo.
Hair-Lenern portrait of a smooth-shaven man, plump and of rosy
face, with prominent nose and large dark brown eyes; seated, to right,
three-quarters front, with light from the left and against a dark back-
ground. He wears a large turban-like cap of old-rose, and a dark
olive coat with old-rose revers, an olive-brown waistcoat and a white
neckceloth.
John Leeds was born at the family homestead in the Bay Hundred of Talbot
county, Md., and died at Wades Point Plantation. He was Surveyor-General of
Maryland, and in 1760-1764 was specially commissioned to supervise the boundary
between Maryland and Pennsylvania. In 1769 he wrote “Observations of the Transit
of Venus.” He was for forty years clerk of the County Court; was treasurer of
the Eastern Shore; was Judge of the Province Court.
The portrait came from the residence of Charles J. Kerr, at one time United
States Attorney at Baltimore, a great-great-grandson of John Leeds of Wades Point.
Gustavus Hesselius was a Swede by birth, who came to America in 1711, and
established himself as a man of mark in the early art of the Colonies, whose artistic
worth has been recognized by succeeding critics. He was the father of the American
portrait painter John Hesselius, who was born in 1728 and whose portraits are
found in Maryland following the middle of the Kighteenth century. John Hesselius’s
natal year coincided with the mortal year of Henrietta Johnson, whose work is
represented in this collection. The portrait here identified as of John Leeds by
those whose authority Mr. Smith accepted is not aggressively American in its sug-
gestion, yet its color and inspiration seem less foreign in the light of a remark by
Charles Henry Hart that “Gustavus Hesselius of Sweden * * * still holds the place
of the first painter of consideration in the Colonies, whose Last Supper, executed in
1721-1722, is quite equal in conception and execution to the same subject painted
by many of the Old Masters.”
THOMAS DOUGHTY
AMERICAN: 1793—1856
Erg Mes
sce
12—LANDSCAPE WITH FIGURES
Height, 121, inches; length, 15%4 inches
A river silvery blue and white from the sky and shadowed by reflections
of trees and rocks on its banks comes through a green landscape some
of whose foliage has turned to autumn browns. At left in the fore-
ground are two young men, one standing, one seated, their trousers
rolled up to their knees, fishing.
GEORGE MORLAND
Eneusu: 1763—1804
13—SEASCAPE Ursa hiv-ar X
9 a Height, 13 inches; length, 1614 inches
A TWO-MASTED ship in a gale near rocks, on the left. Cloudy sky.
MANNER OF HOGARTH
14—AN INTERIOR y
(Wood) MWS AUP eye
7 oD ; Height, 15 inches; width, 1114 inches
Four small half-length figures. An old lady, in brown dress and black
mantle, is seated near a table on which are gold coins and documents.
She addresses a man by her side, while another examines a timepiece
and a third hands her a receipted paper. A dog on a chair in the right
foreground.
GEORGE MORLAND
EncusH: 1763—-1804
Ibn. Badcece
Height, 12 inches; width, 10 inches
15—A FARM HAND RESTING
}}O.—
Sma, full-length figure of a farm laborer, in a red coat, seated under
a tree with a hay fork by his side, a dog on the ground; the village
church in the distance.
PrRIopD OF
HOGARTH
16—AN ARTIST IN CONTEMPLATION :
re Height, 15%4 inches; width, 1114 inches Crk Lice
15S
Smaut full-length figure of a dwarf who, as an artist, admires a paint-
ing of a nude woman Ixion who stands on a wheel placed on the ground
between two horses. Papers near a chair in the foreground.
SIR DAVID WILKIE, R.A.
Encusu: 1785—1841
17—THE BLIND FIDDLER Wr \WLLL
Height, 9 inches; length, 111% inches
[QO.—
Aw itinerant musician is entertaining a cottager and his family; the
father gaily snaps his fingers at an infant on the knees of its mother.
All of the twelve small figures appear to be intent upon the music of
the fiddler. The accessories are very minute and elaborately painted.
The composition recalls, but differs from that by Wilkie in the National Gallery,
London, which is signed and dated and measures 23 inches by 31 inches. The
larger picture is discussed at length in Pinnington’s “Wilkie,” p. 67.
Mr. Philip J. Gentner, director of the Worcester Art Museum, writing to Mr.
Frank Bulkeley Smith, on May 10, 1913, says:
“Wilkie’s painting “The Blind Fiddler,’ exhibited some months ago in the
Worcester Art Museum, is probably a smaller work executed as a model for his
larger one now in the National Gallery, London. The latter work, executed for Sir
George Beaumont, was painted with exceptional care and under circumstances
which gave it unusual reputation, but for all that its superiority to your little
masterpiece is doubtful. Both exhibit the same scrupulous drawing, mastery of
exact detail and bright local coloring kept in harmony by the clear silvery qualities
of tone and interior light for which Wilkie remains unrivalled.”
SIR WILLIAM BEECHEY, R.A.
Encusa: 1753-—1839
WW ‘ I) LLELel
18—BEGGARS AT A COTTAGE DOOR:
SCENE NEAR DOVER, ENGLAND
(Panel)
Lf Qs
Height, 12 inches; length, 141 inches
Aw aged beggar, with a load of faggots on his back, appears at the
door of a cottage in the left foreground and begs alms of two girls. On
the right is a high bank, the sea in the distance.
On the back of the panel in the artist’s own handwriting: “This picture sketched
from Nature and painted at the house of David Pyke Watts, Esqr. to whom it
was presented as a mark of humble esteem and regard by his sincere friend,
W. Beechey, 1802.”
One of four companion pictures presented in 1802 by the artist to
David Pyke (or Pike) Watts, of Dover and of Portland Place.
London.
In the collection of Jesse Watts Russell, of Tlam Hall, Staffs, sold
July 3, 1875, No. 4. Sold at Christie's, May 6, 1905.
In the possession of E. E. Leggatt Bros., London, and of C. W. Kraus-
haar, New York.
Roberts: “W. Beechey,” 1907, p. 79.
WILLIAM ETTY, R.A.
Enceusu: 1787—1849
19—4 NUDE . (A. ee eri.
(Panel)
15. ee Height, 20 inches; width, 14 inches
A sMaALt full-length figure of a nude woman, her back to the spectator,
in a studio. She rests her right knee on a cushion. A red curtain in
the background.
SIR EDWIN H. LANDSEER, R.A.
EncutsH: 1802—1873
20—THE RETURN FROM HAWKING {\ (J), S¢acecac
260 F Height, 26 inches; width, 191 inches 17 |
Le y,
Two small full-length figures. A woman in a white dress and green /
cloak stands at the door of the house; a dog at her side. She receives
a young man, in a red coat, who returns from the day’s sport with
game hung over his shoulders. Sketchily painted.
Landseer painted, and exhibited at the Royal Academy in 1837, a picture with
this title. It contains the portraits of Lord Francis Egerton (afterward created
Earl of Ellesmere) and family. It belongs to the Earl of Ellesmere. It was
engraved by Samuel Cousins in 1840, and by C. G. Lewis; there is also a lithograph
by Lafosse.
A. Graves: “Landseer,” p. 19.
From the collection of A. Harris, who paid Landseer £110 for it. The
autograph account is affixed to the back of the panel.
JOHN CROME (OLD CROME)
Encusu: 1768—1821]
21—PART OF A FOREST
Height, 25 inches; width, 20 inches
Own the outskirts of a wood, a man and a woman are seated on the trunk
of a fallen tree. Cottages and other figures in the right distance.
Purchased from Messrs. Arthur Tooth & Sons, London.
THOMAS DOUGHTY
American: 1798—1856
22—_LANDSCAPE WITH FIGURE A dy : be Au ac
(Panel)
—
4 0. Height, 1814 inches; width, 144 inches
A wien cliff of brownish shale rock abuts on the right, its centre eroded,
a naked ledge below, and a crest ledge above topped by green trees and
shrubs. In the foreground to right, other trees rise against the shale
wall, and wild flowers bloom at their foot, at the edge of a stream which
winds back along a densely wooded background shore at the left. Ona
green bank at the foot of the lower rock ledge a man in his shirt-sleeves
stands fishing with a pole and line.
THOMAS DOUGHTY
1856
AmeErIcAN: 1793
23 LANDSCAPE ae Wy. tec fice i
Height, 18 inches; width, 15 inches
“y
, =
il Sie
Ar left in sunlight a cliff of various ledges, with slender trees crowning
it, and other trees showing autumn colors and some blasted limbs pro-
jecting at different levels lower down. At right a taller cliff partly in
its own shadow, its face a mass of dense green trees, broken only by
occasional outstanding walls of brown rock. In the gorge between
the cliffs a dark green river of placid current, and on it in the right
foreground two men in a boat.
GEORGE DE FOREST BRUSH, N.A.
™ : AMERICAN: 1855—
ev 7 >, ra
24 THE WEAVER ¢ &.M
Vs 0 Height, 12 inches; length, 15 inches
00.
In a plain room whose brown and gray walls are partly shadowed, a
Navajo Indian squats low on a seat formed of two logs with a skin
thrown over them, and works at his primitive loom, weaving a dark
vermilion and checkered rug. He is nude save for a black silver-studded
belt supporting a loose and flowing breech cloth of dark green, and his
black hair is bound in an orange fillet. Behind him is a water bottle of
dark green pottery, and above him hangs a black and gray woven
blanket.
Signed at the lower right, Gro. pr F. Brusn, 1909.
Exhibited at the Worcester Art Museum.
©3619, bn 2 Ter Se ysl Ms. tims an 1909_,
Sota Iivr- 19.0948. SKK 7
“3700+ Lew damseginint f Cum bacharck Mee 1909
btA, Ab Ace et 14j0-4 BASH X ~
WINSLOW HOMER, N.A.
AMERICAN: 1836—1910
25 THE COCK FIGHT Cord hicd 4
(Water Color)
450
Height, 1014, inches; length, 19 inches
A proup though much-punished game cock, with head and clipped tail
erect, stands athwart the picture, over the body of his finished antag-
onist, while the ground about them is strewn with feathers from both
of the valiant birds.
Signed at the lower right, Homer, 1885.
Manuscript note on the back, by Mr. Smith, saying that he met Homer at
M. Knoedler & Co.’s in 1910, and that Homer told him he painted three pictures
of game cocks when in Santiago de Cuba in 1885; that one of them (this picture)
went to La Farge, who later sold it.
From M. Knoedler & Co., 1910.
W.6. 563. (doug hh pm yn Xa aege fa 3910 + PMSX
bold, 113, Saath Ipawch rg10- Joss
UNKNOWN
Earty American ScHoon
CMe are
26—SIGNERS OF THE DECLARATION
OF INDEPENDENCE
jue O~- Height, (each) 101% inches; width, 9 inches
Ser of fifty-four oil portraits on heavy millboard, probably painted in
the early part of the second quarter of the nineteenth century (when
three of the Signers were still living) ; contemporary identification in
manuscript on back of each. An old catalogue record says: “Evidently
painted many years ago for engravers’ use or for some historical
museum. Bought in Philadelphia many years ago, and it is possible
they came from Peale’s Museum. Without doubt seventy-five years
old.” The frames bear the label, “Jules A. Bautz, Maison Francaise,
290 Sixth avenue, N. Y.” Nearly complete set—fifty-three of the
fixty-six Signers, and portrait of Charles Thompson, the secretary ; the
three Signers whose portraits are missing, were Benjamin Franklin,
Samuel Huntington and James Smith. Ten of the portraits have old-
fashioned gold frames; the others are unframed.
UNKNOWN
Earzty American ScHoon
27—-GEORGE WASHINGTON {
ela wa a
(Oval panel)
55. Vertical diameter, 221% inches; horizontal, 1934 inches
Heap and shoulders portrait of the First President, in civilian clothes,
with black coat and grayish waistcoat, and white stock and jabot.
Shoulders to left, face nearly full to the front, and gray wig tied with
a black bow. The features are finely drawn and full of color, and
show an incipient humorous smile which is emphasized by the glance of
the eye. Painted within a reeded, basketed and beflowered frame as
though copied, or enlarged from a miniature, the background a
neutral brownish-gray.
FRANCIS ALEXANDER
American: 1800—1881
23—_JOHN L. GOULD Cah LAC.
(Panel)
pi ne Height, 84% inches; width, 7/4 inches
THREE-QUARTER-LENGTH portrait of a youngish, smooth-shaven man,
stout, with high forehead and light curly hair, the hair brushed well
back; seated, facing the left, three-quarters front. He is in a gray
coat, with Byronic collar and black flowing scarf, and white plaited
shirt. His left arm rests on a red-covered table which holds a book, an
inkwell and writing paper, and in his left hand he holds a quill pen.
Francis Alexander was born at Windham, Connecticut. In 1820 he came to
New York and studied under Alexander Robertson and in 1838 went to Rome.
Thereafter he was in Boston for a decade, and there in 1842 painted Charles Dickens.
He died in Florence.
HENRY INMAN
American: 1801—1846
29—PORTRAIT OF THE ARTISTS FATHER
0S Height, 151% inches; width, 1234 inches
A man of bold features and florid complexion, with thick dark hair care-
lessly brushed, and large eyes directed at the spectator, is portrayed at
full length, seated in a heavy armchair and facing the right with head
turned almost full to the front. He is smooth shaven, with the choker
collar and large black cravat of his day, white pleated shirt with large
pearl pin, gray waistcoat and formal black suit. His hat and stick are
on a green-covered table beside him, at the foot of which his dog is
lying. Background of mahogany-hued drapery, gray pillar and a river
landscape with sail and steamers.
Inman’s father was an Englishman, and he and his wife were among the first
settlers of Utica, New York, where the son was born. The father encouraged the
son in his leaning toward art, and in 1812 the family moved to New York and the
son pursued his studies.
\>
UNKNOWN
Earty American ScHooL
30—BISHOP G. W. DOANE (1799-1859)
(Panel)
ce Height, 11 inches; width, 7 inches
Hatr-Lenern, with the hands included; figure slightly to the right and
face almost fully to the front. The distinguished Churchman appears
a man of intellectual features and thoughtful expression, and penetrat-
ing but kindly eyes. He is beardless, and his dark brown hair is
brushed down in thin and curling strands over his high forehead. He
wears surplice and bands and a black stole, and holds a prayer-bodk in
both hands, a finger of his right hand between the leaves. Brown back-
ground. (The panel bears on its face, visible when turned to the
horizontal, to right, an impressed advertisement in large letters and
figures beneath the pigment: “J. Green, 1815.”’)
Bishop George Washington Doane was born at Trenton, N. J., in 1799, and
ordained a priest of the Protestant Episcopal Church in 1821. He was elected
Bishop of New Jersey in 1832, and in 1846 he founded Burlington College, in
New Jersey. Before his election as Bishop of New Jersey he preached for several
years in New York City and Boston. His son, George Hobart Doane, who was
graduated from Burlington College in 1850, became a Roman Catholic five years
later, was admitted to priesthood in that Church, and afterward was at the Cathedral
Church in Newark, N. J., and served as Vicar-General. He was made a domestic
prelate to the Pope and in his later life was known as Monsignor Doane.
FRANCIS ALEXANDER
American: 1800—1881
31—M ASTER LORD
(Panel)
40 wee Height, 18%, inches; width, 1614 inches
Heap and shoulders of a boy, painted as a portrait within an oval
frame, on the rectilinear panel. He looks out to the right, three-quar-
ters front, a strong light from the left illumining the right half of his
face, the left half being in transparent shadow. He has short and very
light golden hair and rosy cheeks, and wears a wide and fluted white
collar over a blue coat with metal buttons and a golden-buff waistcoat.
Dark background within the painted oval frame, which itself is reddish.
Francis Alexander was born at Windham, Connecticut, and was at first self-
taught. In 1820 he came to New York and studied under Alexander Robertson
and in 1888 went to Rome. Thereafter he was in Boston for a decade, and there
in 1842 painted Charles Dickens. He died in Florence. “One of his best portraits
is that of Mrs. Fletcher Webster, in the Boston Museum of Fine Arts.”—Encyclo-
pedia Britannica.
Qik eit
JOHN JAMES AUDUBON
AmeErican: 1780—1851
32—MISS AUDUBON
/ oo. Height, 191% inches; width, 183 inches
THREE-QUARTER-LENGTH portrait of a child—a blue-eyed little lady
with rosy cheeks and a mass of wavy blond hair, seated and facing
squarely to the front, with a conventional background atmospheric
and colorful. She is in white with bare shoulders and arms, and a red
sash just under her armpits; and with her left hand she supports an
informal bouquet of garden flowers.
This portrait, with the bird canvas by the same great artist-ornithologist, in
this collection, was obtained from a New Jersey family estate, the two pictures
having been purchased by members of the family directly from the painter, whose
renown as the authority on “Birds of America” has obscured in many minds the
fact that he was also an accomplished artist, even aside from his wonderful draw-
ings of the birds which so engrossed his interest.
Wd. (ih . Ses 2
JOHN JAMES AUDUBON
American: 1780—1851
33—BIRDS WwW. W. Scares CAT
37 nae Height, 2614, inches; width, 21 inches
A parr of hawks most carefully and painstakingly studied, both on the
wing; one headed downward and toward the left, with back and eye to
the spectator, the other below it and headed leftward with throat and
underbody and the under-wings in view. They are seen against a tall
and slender stem of green leaves, resembling (if they are not) the sassa-
fras,—the whole against a blue and gray sky-background, above a
foreground of tree-tops, a middle-distance yellow-green valley, and a
distant ridge of vague blue hills.
This canvas, with the Portrait of Miss Audubon by the same artist, was obtained
from a New Jersey family, members of which purchased the two pictures from the
artist himself—the great ornithologist.
GILBERT STUART NEWTON
British Scuoou: 1795—1835
34—PORTRAIT OF A LADY q. YP.
60 Height, 20 inches; width, 1484 inches
i
A youne lady is portrayed with back to the spectator, her face turned
toward her left shoulder and brought to view slightly more than in
profile, in a full light. She has large features and a warm complexion,
and reddish-brown hair, from which ribbons and a kerchief depend to
a white yoke within her tightly fitting red gown. On a table on which
her left elbow rests is a blue drapery. Dark interior background with a
window-view of landscape at the left.
Gilbert Stuart Newton, who boasted that he was not an American citizen,
disclaiming American citizenship, was a nephew of Gilbert Stuart; he was born
in Halifax, where the family had been driven from Boston, and was brought back
as a boy to Charlestown. Received instruction from his uncle, went to Italy, France
and England, and painted many Americans in London and Paris.
WILLIAM J. BANNING
AmeERIcAN: 1810—1856
(Born at Lyme, Connecticut)
35—SAMUEL WALDO (1783-1861) nO Pa
(Panel) Y. o
] Qian
LU: Height, 2214, inches; width, 17 inches
Heap and shoulders to left, three-quarters front. The artist appears
as a young man, with eyes fixed on the observer and an affable smile.
He is in formal black coat with shawl collar, and displays a con-
siderable expanse of white shirt-front below his black stock. Black
hair, bushy and inclined to be curly; high, light forehead and smooth-
shaven face with rosy color. Dark background.
Samuel Lovett Waldo, A.N.A., was born in Windham, Connecticut, 1783; went
to London in 1806, where he joined West and Copley and worked in the Royal
Academy; returned to America in 1809, living in New York City until his death
in 1861.
JOHN BLAKE WHITE
AMERICAN: 1782-1859
36-—GEN. MARION IN HIS SWAMP ENCAMP-
MENT, INVITING A BRITISH OFFICER,
TO DINNER pa <4
b-s —
13 O:.— — Height, 1814 inches; length, 2414, inches
In an open space along the edge of a dense wood the two officers are
seen in the foreground, Gen. Marion extending to the Briton an invita-
tion to partake of a meal which a negro cook is preparing over a small
fire, beside a low board table set up on crotched branches cut from a
tree. Behind the officers a sorrel horse rubs its nose on the boards,
and various men of the general’s following are standing around or
reclining on the grass. Others are seen on the far side of a stream,
which two horsemen are elsewhere fording. The officers are both in
buff breeches, with their scarlet and blue coats in contrast.
General Francis Marion (1732-1795) was a South Carolinian of Huguenot
descent, famous in Revolutionary times, first as the head of irregular troops usu-
ally numbering twenty to seventy men, afterward as commander of the State
militia. Lieut.-Col. Banastre Tarleton was sent out by the British to capture the
“Swamp Fox,” but Marion eluded him. The British officer in the picture resembles
Tarleton, as painted by Sir Joshua Reynolds. Marion had a fine career and received
the thanks of Congress for the rescue of an American force from the British. He
was also a State Senator. In August, 1780, he captured one hundred and fifty
Maryland prisoners and a score of the British guard, and later larger bodies of
Loyalists or British Regulars. The picture may perhaps represent one of these
occasions.
John Blake White was born in South Carolina in 1782. He was a pupil of
West in London. He was an author as well as an artist, and was a member and
a director. of the South Carolina Academy of Fine Arts.
Engraved by J. N. Gimbrede for “Godey’s Magazine,” “by permission
of the Society of Art Union.”
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COL. HENRY SARGENT
American: 1770—1845 [rn CA by if ie
37—SARAH ANNE ST. JOHN (1794-1867) V
bS, es Height, 24% inches; width, 181 inches
4
SEEN nearly at half-length, seated, a young woman of rosy cheeks
and dark blue eyes looks out at the observer from a gray wool cap,
bell-shaped and rakishly worn, which conceals her ears and reveals
chestnut curls which straggle down to her eyebrows. She was twenty-
one years old when the portrait was painted, at Hingham, Massa-
chusetts, in 1815. She looks directly at the spectator, with figure
to right, three-quarters front, and is wearing a purplish-gray out-
door wrap with shawl-colar and high belt, disclosing a plaited white
waist with flaring white collar. Dark neutral background of brownish
tone.
Sarah Anne (Tilton) St. John, wife of Charles Cook St. John of New Canaan,
Connecticut, and Westchester, New York, was born at New Canaan in 1794 and
died in New York City in 1867, when the portrait passed to her granddaughter
Sarah Ward St. John, daughter of Mrs. St. John’s eldest son Augustus E. St. John.
Augustus E. St. John died in 1858. Sarah Ward St. John, who was born in 1849,
married Augustus C. Sarles, and died childless in 1902. She gave the portrait to
her friend Mrs. Helen Reade Hammersley Stickney, from whose estate it was
acquired by the late owner. A paster on the stretcher, reading “Sarah Anne St.
John, Jany. 31st, 1815,” is marked “Her autograph: M. St. John;” also, “This was
painted at Hingham, Mass., by Col. Henry Sargent; M. St. John’—inferentially,
Mrs. Martha Laurina (Ward) St. John (1820-1900), mother of Sarah Ward St. John.
Col. Henry Sargent of Boston was a pupil of Gilbert Stuart, a member of the
American Academy of Fine Arts, and was an officer in the War of 1812.
ETHAN ALLEN GREENWOOD
American: 1779—1856 “Rig
q 38—PORTRAIT OF AN UNIDENTIFIED MAN
| (Panel)
Height, 26 inches; width, 1914 inches
Busr portrait, nearly elbow length, of a man beyond middle age, with
short gray side-whiskers and gray wig, facing the left, three-quarters
front. His high brow is seamed and his jowls are heavy. His some-
| what swarthy and lined but genial face is in the light against a black
iit background, with a dark garnet drapery on the left, and he looks
| contemplatively at the observer. Black coat with high-rolled collar,
if and white stock and jabot.
!
Signed at the lower left, GREENWoop, PINxt., C. 1815.
i,
This canv,.s, which had come down as a likeness of “a former Mayor of Boston,”
| was at one time supposed to be a portrait of John Phillips, first Mayor of Boston.
‘| But as Mr. Phillips, who died in office May 29, 1823, was born in 1770 and would
| have been but forty-five years old at the date of the portrait, and is described as
| having been always of delicate physique, that identification was manifestly erroneous;
furthermore it conflicts with the portrait of Phillips in Windsor’s “Memorial History
| of Boston” (Vol. III, p. 223).
Ethan Allen Greenwood, born in Massachusetts in 1779, painted portraits as
early as 1803; he studied with Edward Savage, and in later life succeeded Savage as
owner of the New England Museum, which became the Boston Museum. He died
in 1856.
60.
OLIVER FRAZER
AMERICAN: 1808—1864
(Buve Grass Scuoot or Kentucky)
39—PORTRAIT OF A LADY ec AWA
Height, 25 inches; width, 2014 inches
A HANDsoME and mature young woman of agreeable countenance, with
rosy cheeks and dark chestnut hair; seated facing the observer, turned
slightly toward the left. She wears a voluminous white lace cap, and
pink roses with sprigs of leaves in front of her hidden ears, from
which gold earrings depend. Dark green gown cut low beneath an
ornate white lace fichu which is crossed and pinned with a brooch.
Jeweled necklace, and gold watch with a bead-chain encircling her
shoulders. Dark background.
(Companion portrait to No. 40)
Oliver Frazer was born in Kentucky in 1808; his father was a native of Ireland.
He studied under Jouett in Kentucky, and under Sully in Philadelphia, and in
1834 under the American G. P. A. Healy in Paris. He painted a portrait of Edwin
Forrest.
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OLIVER FRAZER
AMERICAN: 1808—1864
(Buve Grass ScHoon or Kentucky f
) J) ihe
40—PORTRAIT OF A MAN
Height, 25% inches; width, 202 inches
Haur-tenctn, facing front with very slight turn towards left. Eneutsu: 1734—1802 U0). tw. Ne er
“Sw \wy* oy ian
100—PORTRAIT OF A MAN IN A RED COAT
200-0. — Height, 30 inches; width, 25 inches
Haur-LtenctuH; three-quarters to the left. In a red buttoned coat,
white cravat and full wig. He has a florid complexion.
In the collection of Maurice Kann, sold June 9, 1911, No. 52, p. 57.
Has been engraved. : ey aOxx
Purchased from Messrs. Cottier & Co., New York.
JOHN HOPPNER, R.A.
EneusH: 1758—1810 a veg; be
101—PORTRAIT OF SIR GEORGE BEAUMONT
(Oval)
pt an Height, 29 inches; width, 24 inches
Bust length, three-quarters to the left. Black coat, with brass buttons,
white cravat. Florid complexion and curly gray hair. Red curtain,
withdrawn on the left to show a landscape.
Sir George Howland Beaumont, Bart., of Stoughton Grange, Co, Leicester;
born Nov. 6, 1758; succeeded his father in 1762; M.P. for Beeralston, 1790-1796;
married Margaret Wills, May 6, 1778. Died Feb. 7, 1827.
Another portrait by Hoppner, engraved by W. Say, J. S. Agar and J. Wright,
was formerly in the Mulgrave Castle Collection and that of Sir Edward Sassoon.
Hoppner probably painted several examples of his portrait of Beaumont; one was
in the Hoppner sale, 1828, No. 27; another in the David Wilkie Sale, April 30, 1842,
No. 674. Sir Joshua Reynolds and Sir Thomas Lawrence also painted his portrait.
O’Donoghue: “Kngraved British Portraits in British Museum,” I, 148.
W. Roberts: “Hoppner,” 1909, p. 17.
In the collection of G. H. S. Glasier, London.
Pree nous arg i > Se 3 EF een Dee
in sine sr ie cs : é ¢
, had never been out of New York. It was acquired from his great-great-grandson,
JOHN WESLEY JARVIS
American: 1780—1839 ~
ju. y: o.
124— PRESIDENT WASHINGTON
Height, 30 inches; width, 2514 inches
A porrrair done without a sitting, but signed by the painter. Full-
length standing, facing the observer, head turned toward the subject’s
right, and glance somewhat downward and abstract. The First Presi-
dent is in deep blue—almost black—civilian attire, with black stockings
and silver shoe buckles, and white stock and jabot and white lace cuffs.
In his left hand a scroll, right hand resting on a marble writing table.
He stands within a circular portico, beside a crimson portiére, and
over a stair balustrade at the left the Capitol appears in the distance,
beneath a sunset sky.
Signed on the table, J. W. Jarvis.
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JEREMIAH THEUS
American: 1719—1774 {,)
125—PORTRAIT OF A BOY WITH A DOG
Height, 2934 inches; width, 25 inches
Sranpine figure of a boy, nearly at full-length, facing the spectator,
very slightly turned toward the left. He stands before the base of a
pillar, which is on the right, with a landscape background on the left.
On a green mound which is as high as his belt, in front of him and to
his right, lies a brown pet dog about whose neck he places his hands.
He is a round-faced and rosy-cheeked young gentleman, in eighteenth
century costume of yellow-lined blue coat, blue breeches, and buff-brown
under-coat with ornate trimmings, and he wears a white jabot and wig.
On the stretcher a paster, “Died single, Samuel Smethan, born . . . (paster
torn) son of Samuel and Elizabeth Smethan.”
Through the mis-copying of this “born” as “Bos,’ with the implication of
Boston, an idea arose that this was a northern portrait, and identity of the persons
mentioned was sought in the North, without avail. Hart, on the strength of a
photograph and the paster information (he had not seen the canvas), attributing
the painting to Theus with confidence, conjectured that the portrait had been
painted on a visit made by Theus to the North about 1850, when he painted the
portrait of Caroline Van Voorhees (Mrs. Hendrick Van Buren), No. 143, of this
collection, although he pointed out that the palmetto in the background neutralized
the “bos.” It seems clear that the word was written “born,” so that a further
search may reveal the sitter as belonging to the precincts of Theus’s best known
activities, Charleston, S. C.
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JACOB EICHHOLTZ
Al 3 b. sine AMERICAN: 1776—1842
WW. UW < Ce A414 =
Height, 30 inches; width, 25 inches
126—MRS. ARUNDEL
TureeE-quarter length, to left, three-quarters front; a middle-aged
woman of agreeable expression, with chestnut-brown hair parted
smoothly over the forehead, curled beside the temples, and enwound in
a white kerchief or turban-like cap. She is in black, with puffed
sleeves, and a deep ruffle of white lace about her neck. Over her arm
and lap an India shawl. Background of reddish-brown curtain and
conventional landscape.
Jacob Eichholtz was a native of Lancaster, Pa., born in 1776. When Sully
visited that home of Pennsylvania art and invention Eichholtz offered him his
painting room, and Sully in recognition gave the Lancastrian some of his brushes.
Kichholtz later had some instruction from Stuart, in Boston. He painted portraits
of prominent persons of Lancaster county, and died in Philadelphia. His portrait
of General Andrew Jackson, seventh President of the United States was sold in
the Thomas B. Clarke Collection of Early American Portraits last year.
Exhibited at the Panama-Pacific Exhibition, San Francisco, 1915.
— =
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{| 0.
JACOB EICHHOLTZ
127—MR. ARUNDEL (Son of M. S. Arundel)
Height, 30 inches; width, 25 inches
Hatr-teneru figure of a young man of dignified mien, seated with
figure to the front and face turned slightly toward his left shoulder, as
he rests his left arm and white-gloved hand on the curved arm of the
red-upholstered chair or sofa upon which he sits. In black formal
dress, the coat with shawl collar, white choker collar and stock. He
has a rosy complexion, green-blue eyes and dark chestnut hair, which
is worn in engaging disarray. Dark crimson drapery and neutral olive
background.
Exhibited at the Panama-Pacific Exhibition, San Francisco, 1915.
American: 1776—1842 LV. Us. li a oe
.
x
Q a) 60 Vi, Height, 30 inches; width, 243/, inches
SAMUEL LOVETT WALDO, A.N.A.
1861
AMERICAN: 17838
128—WILLIAM STEELE (1762-1851)
ry
(Panel) W.W. vt
Lk
Hatr-tenern portrait of the Revolutionary hero, in blue-green velvet
coat with gilt buttons and high-rolled collar, and white waistcoat and
stock. He is seated on a carved-gilt and red-upholstered side-chair, to
right, three-quarters front, his face turned almost full to the front with
alert and intent glance. Eyes dark; bristling gray hair, and florid
complexion; a high light on the brow. He holds in his right hand an
opened letter. Neutral background.
William Steele, who was born in New York in 1762, served in the Revolutionary
War. In 1780, while bearing despatches on the twenty-gun ship Aurora, which
was captured by the British frigate Iris, he was wounded during the battle. After
being held for some months a prisoner, he was exchanged. He married, in 1791,
a daughter of Jonathan Dayton. William Steele’s father, Stephens Steele, was an
active Whig in Revolutionary times, and on the British capture of New York had
to abandon his home and a valuable property.
Shown at the opening exhibition of the Brooklyn Institute of Arts and
Sciences, 1897; loaned by W. D. Steele, 128 Montague street,
Brooklyn. Ewhibited at the same Brooklyn Museum, 1917.
From the collection of W. D. Steele.
JOHN SINGLETON COPLEY
American: 1737—1815 oe i)
Or. S. Wed
129—MAJOR JOHN ANDRE (1751-1780)
/ b . Ni - Height, 29 inches; width, 25% inches
Tue young and gallant British major is seen in uniform and hatted,
appearing at a little less than half-length, with figure very slightly
turned to the left and head to the right. His face is observed three-
quarters front, as he looks with bright, alert eye, across his left shoul-
der; his clean-cut features are finely delineated; the flesh is warm and
the cheeks are rosy. An inner white stock overlaps a black one, and
his white jabot and scarlet coat collar and gold epaulettes relieve the
deep blue-black of the coat itself. Atmospheric background with
clouds, in polychrome of neutral tones. On a paster on the stretcher:
“John 8. Copley, pmxt., 1774.”
The aspect, in the portrait, of the man to whom Benedict Arnold betrayed the
plans of West Point, accords with the other likenesses of him which were popular
on both sides of the Atlantic in his day. And he looks the enthusiastic and con-
fident character exemplified romantically a year after the date given for this
canvas, when, taken prisoner at the capitulation of St. John’s (1775), and stripped
of everything else, he concealed in his mouth the picture of his first love (though
she had married, in England), and was able to write: “Preserving this, I yet think
myself fortunate.” Even Washington seemed to regret the necessity of executing
André. The date of his execution was October 3, 1780.
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JOHN SMIBERT
American: 1688—1751 l
130—BISHOP GEORGE BERKELEY (1685-1753)
b Coma Height, 2934 inches; width, 2514 inches
Tue enthusiastic bishop,—Dean Berkeley he was at the time—whose
large dreams for a universal college in the Bermudas enlisted the per-
sonal as well as the artistic interest of Smibert, is presented head and
bust—nearly at half-length—in his black gown, white lawn collarette
and great curled periwig. With figure turned slightly to right, he faces
front, looking at the spectator with kindly hazel eyes and a beneficent
official smile, his complexion showing a pleasant pinkish warmth. On
a square canvas, but painted for an oval frame. Dark background.
especially deep within the oval.
After careful examination of this portrait Charles Henry Hart wrote of it:
“Doubtless a contemporaneous replica of the canvas in the Worcester Art Museum,
which is signed and dated ‘Jo. Smibert, fe., 1728.’ It is an extremely good example
of Smibert at his best, and particularly interesting from the close relations that
existed between the subject and the painter.”
Smibert, born a Scot, established himself as a successful portraitist in London
at the age of thirty-two, in 1720. When, eight years later, Berkeley relinquished
his deanery of Derry to establish a universal college of art and science in the
Bermudas and for the benefit of all the Americas, he induced Smibert to accompany
him as professor of art. They landed at Newport, January 28, 1728 (O. S.). The
dream collapsed, the dean returned home. and became Bishop of Cloyne; Smibert
became the leading American portrait painter of Boston.
A paster on the stretcher of this portrait says: “Bought from the old
Berkeley home outside Newport, R. I— Westward the course of
empire’ Me
np gn wird Sali as Sn eal kata sanlnt a opamp Ase sbntLetag ead dnet nied cohuirianbonicalebantas
ee ee)
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ROBERT EDGE ee Bees
AMERICAN: 1730—1788
131—WILLIAM ASH (circa 1800) /
fi 600. ie Height, 30 inches; width, 2434 inches
Harr-Lenern, facing front, slightly to left; seated, in a red-uphols-
tered armchair. A man of smiling countenance, and a warmth of facial
8 3
color which caused the portrait to be attributed for many years to
Gilbert Stuart. Black coat, and white neck-cloth and jabot, and eray
3 J ’ Era)
wig. Dark brown and blackish background.
On back: “Mr. William Ash, by Gilbert Stuart; relined, 1916.”
“The accompanying painting is of my great-grandfather, William Ash, who
was a gentleman of independent means living in New York City and vicinity about
1800. He had a brother Thomas Ash, also a gentleman of independent means,
having a country estate at Throge’s Neck on Long Island Sounud. This picture
was painted for William Ash himself, and has never been out of the possession of
the family. It was presented to my father, the late John C. Ham of New York
City, by Mrs. Ash, widow of the aforesaid Thomas Ash, and given to me by my
father at the time of my marriage. We have always understood that the painting
was by Gilbert Stuart, and it is certainly of that period.”—(Mrs.) Josepuine H.
Prarr; 68 West 162nd street.
Hart, with the above memorandum before him when he examined the canvas,
declared his opinion that it was not painted by Stuart but by Pine.
Pine was born in London in 1730 (some say 1742); he came here in 1783 with the
idea of painting heroes of the Revolution, but was unable to complete that task,
owing to his early death. He painted numerous portraits of notables, however, and
Washington has recorded his pleasure in receiving him, for the painting of his
portrait.
JOHN NEAGLE, N.A.
(Honorary Member, elected 1828)
American: 1796—1865 Ck
132—W ASHINGTON IRVING (1783-1859)
— Height, 30 inches; width, 25 inches
Hatr-tencrn, seated, to left, three-quarters front. The distinguished
author, with smooth face, dark brown hair smoothed clear of his brow
and brought carelessly forward beside his temples, is in easy-fitting
black coat and waistcoat, his loose shirt-front unadorned, black cravat
and loosely fitting choker collar. His brown-blue eyes are benign and
thoughtful, and his features express his characteristic geniality. Neu-
tral background grayish in the light and dark in shadow.
A note on the well-beloved, humorous, engaging and serious writer, would be
almost as gratuitous as an elementary biography of the distinguished American
whose name he shared, yet the reminder may be permitted that Washington Irving
was as well known in England as in America, that he told England in language of
current understanding just how the two countries stood as to potentialities, that
interest in Spain did not interfere with his interest in Washington, and that he
knew America not only in Knickerbocker New York but through the first John
Jacob Astor all the way to the Pacific Coast.
John Neagle was a Philadelphian; lived and died in that city, although a casual
journey of his parents made Boston the city of his nativity. He married Sully’s
stepdaughter, and painted “the virile men” while Sully painted “the pretty women”
of the City of Brotherly Love. He went to Boston and painted what has been
called the best portrait of Gilbert Stuart.
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ROBERT FULTON
AMERICAN: 1767—1815
133
ot. —
Tus self-portrait represents the inventor of the steamboat at half-
ROBERT FULTON (1767-1815) iv. W. &e
Height, 30 inches; width, 25 inches
length, seated, with figure slightly to right and face very slightly to
left; blue coat, white waistcoat and stock, and choker collar; buff
breeches. He regards the observer, with preoccupied expression, and
holds in his right hand a small book, finger between the leaves; his left
hand is thrust within his coat. Conventional landscape background,
with a side-wheel steamer in a river, and in the distance a domed struc-
ture resembling St. Peter’s at Rome and also suggesting the Capitol
at Washington—and by some thought to be from a design Fulton is
known to have made for the Capitol.
On back the following pasters: “Le 16 Aout 1807, le ‘Claremont, bateau a
vapeur, inventé par Fulton, citoyen americain, fit son premier voyage sur l’Hudson
entre New-York & Albany. Le Claremont mesurait 50 metres de long sur 5 metres
de large.” “The above writing was pasted on the back of this portrait and was
removed by me to reline the canvas. I have replaced it in the same position it
occupied on the first linen. Jomx B. Wrixrnson, Phila. May, 1910.”
This portrait was at one time the subject of a bitter controversy, particularly
on a declaration or confession of a former holder as to repainting or painting over
the background. Charles Henry Hart, in a signed article in the New Era of
Lancaster, Pa., November 30, 1912, demolished the repainting argument, by announc-
ing that the picture had been submitted for his opinion some years previously, that
he had then seen that the entire background had been painted over and a com-
paratively modern walking-beam steamer introduced (instead of Fulton’s paddle-
box type), and that the canvas had been cleaned and relined under his direction,
revealing the true background. With his usual sledge-hammer blows Hart demon-
strated that the portrait is of Fulton, and gave his opinion that it is by Fulton,
and told why. The portrait was then (1912) in a Lancaster County Portraiture
Exhibition (Lancaster claiming Fulton as its most eminent son).
uf
DANIEL HUNTINGTON, N.A.
AMERICAN: 1816—1906
134—LOUIS AGASSIZ (1807-1873) /
Height, 3014 inches; width, 25 inches
15.-
Heap and shoulders portrait—nearly a half-length—to right, three-
quarters front; with a nebulous sky background of gray, cream and
blue. The great teacher is in a gray coat with dark velvet collar,
white waistcoat and shirt, and wears a choker collar enwound in a
cream-white stock with blue dots and tied in a loose knot. A strong
hight from the left strikes his high brow and partly bald head and florid
cheek. His hair falls long and loosely nearly to his shoulder at the
back, his brilliant eyes have an intent and affable far-away gaze, and
the lines of his mouth continue the smiling suggestion of eyes and gen-
eral countenance. Agassiz’s geniality and his hearty laugh were dwelt
upon by Dr. Oliver Wendell Holmes.
Re 99
Signed at the lower left, “Agassiz, by D. Huntington, 1857.
JAMES FROTHINGHAM
AMERICAN: 1781—1864
8.6)
135—GILBERT STUART (1755-1828) ee
6 pO a Height, 30 inches; width, 24 inches
UV
Har-Lenecru (without the hands) seated, to left, three-quarters front,
with face turned well to the front. ‘The master painter of America,”
in Hart’s favorite phrase, which some painters contradict but many
amateurs endorse and swear by, looks out at the observer with merry
eye, a smile on his lips, and a very vivid and vigorous expression. Stray
locks of his hair, which appears dark, curl down the centre of his fore-
head. Complexion warm. He sits erect, and is wearing a black coat
and waistcoat, with his white neck-cloth tied with a light flourish.
Dark neutral background.
“Am of the opinion that it was painted by James Frothingham, circa 1810,
when the great artist (Stuart) was about fifty-five years of age. I consider it a
very characteristic portrait of America’s Master Painter, and especially interesting
from having been painted by Frothingham, who was one of Stuart’s earliest students
in Boston, and who made many of the best copies of Stuart’s Washington that we
have. The canvas shows the effect of the subject’s teaching in its treatment.”—
Cuartes Henry Harr, “To whom it may concern,” New York, April 26, 1917.
THOMAS SULLY
1s72 (A) Noe (Ee
American: 1783 y
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136—ROBERT WALSH OF PHILADELPHIA
l= (1785-1858)
150: Height, 30 inches; width, 25 inches
Har-Lencru seated, figure to front; head to left, three-quarters front.
Portrait of a young man with finely chiseled features and thoughtful
eyes, leaning back somewhat and supporting his head upon his left
hand, with elbow resting upon a large open volume on a writing table
at his side. His thin and long black hair takes its free way over his
brow and temples. He is in black, with white stock and waistcoat, and
gold buttons. Neutral background of dark reddish-brown.
Robert Walsh, well-known literary man, born Baltimore, 1785, son of Count
Walsh, an Irishman who married a Quakeress; educated at the Catholic colleges at
Baltimore and Washington; admitted to the bar in Philadelphia in 1808, but pre-
vented by deafness from practising. A pamphlet of large proportions, ‘Letter on
the Genius and Dispositions of the French Government,” published in 1811, went
through twelve editions in six weeks in London, Jeffrey saying of it: “We must learn
to love the Americans when they send us such books as this.” Walsh established
the first quarterly journal in the United States, his “American Review of History
and Politics.” He died in 1858.
Painted in 1814. See Sully Register, No. 1775. Purchased from
Henry C. Walsh of New York and sold to Mr. Smith.
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GILBERT STUART, N.A.
(Honorary Member, elected 1827)
American: 1755—1828
. WW, Ge sees
187—“EARL BARRYMORE Qa 7
6 60. Height, 30 inches; width, 25 inches
Hawr-Ltencru, facing the front, head directed toward the right. A
smooth and rosy faced man of quiet expression, in gray wig and dark
coat with gilt buttons and white revers; white waistcoat, stock and
jabot. Brown background with dark red drapery.
This canvas is guaranteed as a portrait by Stuart by M. Knoedler & Co., and
the late Charles Henry Hart also passed upon it several years ago, declaring it a
Stuart. The identity of the sitter has not been satisfactorily ascertained. Knoedler
& Co. sold the picture as a portrait of “Admiral Barrymore.” Hart pointed out
that the subject is not in a naval uniform—which would not be a necessity, though
officers were customarily painted in uniform. He mentioned also that Stuart did
paint Admiral Barrington, adding that this was not that officer. Another con-
jecture that the portrait was of Lord Barrymore “the Sporting Earl” (1769-1793),
etched by Rowlandson, was not borne out. But that the painting is by Stuart (Hart
thought about 1780) is not contested.
Exhibited at the Worcester Art Musewm.
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GILBERT STUART, N.A.
(Honorary Member, elected 1827)
aad
American: 1755—
1828 P
iu.W). Sc aces
1388—STR RICHARD ARKWRIGHT (1782-1792) ah
Height, 30 inches; width, 25 inches
Tue celebrated inventor of the revolutionary cotton-spinning machin-
ery which brought great wealth to England and benefited the world
is pictured at half-length, seated, figure slightly to right and face to
left, with light from the left falling full upon his features. He is in a
white wig heavily curled, gray coat with large gold buttons, and brown
waistcoat barred in green and yellow; white neck-cloth. Yellowish-
brown background.
“Sir Richard Arkwright was born at Preston, Lancashire, in 1782, and died in
1792. Notwithstanding the obstacles thrown in his way at first by poverty and
want of mechanical skill to reduce his inventions to practice, and afterwards by
the unprincipled invasion of his rights by rival manufacturers, he realized a very
large fortune; and his machines, but little improved upon, have been the means of
almost innumerable fortunes being made by others. Mr. Arkwright was not
knighted, as many suppose, on account of his inventions, but on the occasion of
presenting an address as High Sheriff of the County of Derby, congratulating
George III on the failure of the attempt made upon his life by Margaret Nicholson,”
—Mavunoer’s “Treasury of Biography.”
Exhibited at the Worcester Art Museum.
Certified by Vicars Brothers, Old Bond street, London, as an original
by Stuart “and no replica in existence.” Believed to have been
painted about 1784.
SILBERT STUART, N.A.
(Honorary Member, elected 1827)
AMERICAN: 1755—1828)
LY ef
139-MRS. DANIEL WEBSTER . Y
(GRACE FLETCHER)
© Height, 291, inches; width, 241/, inches
AD. ‘
Harr-tenerH seated, to right, three-quarters front, left hand resting
against the seat-arm and right concealed beneath a crimson wrap which
falls in folds about her elbows. She is in a gown of dark turquoise-blue
with a deep neck-ruffle of white lace in several folds, and wears gold
jewelry. A woman thin but of considerable frame; angular face with
pinkish cheeks, and gray eyes; brown hair with ringlets overhanging
the temples. Drapery and landscape background in red-brown and
gray, rose, white and blue.
Grace Fletcher was born in 1781, daughter of the Rev. Elijah Fletcher of
Hopkinton, New Hampshire; educated at Atkinson Academy, near Haverhill; in
1807, while visiting her elder sister Rebecca, wife of Israel Webster Kelly, at
Salisbury, N. H., met Daniel Webster, and married him at Salisbury on June 11,
1808. They had five children. She was with him for years in Washington, but
soon after he had been sent to the Senate she was taken ill in New York on her
way to join him, and died January 21, 1828.
The portrait of Mrs. Webster was painted about 1816. Shortly before Webster
married his second wife, in 1829, he gave the portrait to the first wife’s sister
Rebecca, referred to above, from whom it passed to Webster’s son Daniel Fletcher
Webster, and was retained by his wife after his death. At the close of her peculiar
career which ended in misfortune the portrait was lost to sight for a time; its
recovery is traced in information supplied to Mr. Smith and included in his records.
GILBERT STUART, N.A.
(Honorary Member, elected 1827)
American: 1755—1828
140—MOSES BROWN (17(?)-1820)
(Panel)
: ee | ree Z é < 6 Aone 8
o A OT Height, 32 inches; width, 25°4 inches
Hanr-Lencru to left, three-quarters front, the face more fully to the
front; seated, in a gold-frame armchair with deep rose upholstery ;
grayish-olive interior wall background.
~*
Tis stunning portrait, which will stand up in any portrait group, and
which won such high praise from the chief student of Stuart’s work,
presents the charming young lady at three-quarters view, figure to the
front and head turned toward her right, seated in a round-backed arm-
chair whose red upholstery is finished off with gilt tacks. She is seen
before an olive wall with a panel or a paneled window-shutter in gray at
the left. She wears a décolleté gown of pearl-white with a lace-flounced
neckyoke, tight sleeves with lace at the wrists, and a deep sash of light
blue about her slender waist. A mass of soft brown hair curls about
her head, with a long ringlet brought over one shoulder. Her fine
features are expressive of the generous and genial “smile from within.”
Painted in 1794.
“The largest and the finest portrait of a woman I have ever seen or known of,
painted by Gilbert Stuart.’—Cuarres Henry Harr.
Matilda Caroline Cruger, born in Bristol, England, 1776; daughter of Henry
Cruger, born in New York in 1739, who went to England and was elected to Parlia-
ment in 1774, where, colleague of Edmund Burke, he advocated the cause of his
native land throughout the Revolutionary War. He returned to New York in 1790,
and Miss Cruger, a year after her portrait was painted, married Lawrence Reid
Yates, whose portrait Stuart had also painted in the same year as hers (1794—
Mason’s “Life and Works of Gilbert Stuart”). The portrait of Mr. Yates was sold
last year at the Thomas B. Clarke sale. Mr. Yates died in 1796, and in 1800 the
young widow married her cousin Judge Henry Walton. She died in Charleston,
S. C., in 1812. By her second marriage she had six children. Her only child by
her first marriage, Caroline Matilda Yates, married James Taylor of Albany, a
widower; she died in 1866, leaving her mother’s portrait by Stuart to her step-
daughter Maria, wife of Associate Justice Ward Hunt of the United States Supreme
Court, for life. Mrs. Ward Hunt died July 8, 1912, and the portrait, under Mrs.
Taylor’s will, passed to Mrs. Hunt’s niece, Mrs. Phineas P. Hillhouse.
“T have seen and studied during a period of fifty years more portraits painted
by Gilbert Stuart than any other person, and my survey satisfied me that as great
an artist as Stuart was in the painting of robust, virile men, he was a much greater
artist in the delineation of beautiful and dainty women * * * If I had known of
the portrait of Miss Cruger and could have gotten it, it would have been the Abou
Ben Adhem of the series and led all the rest.’—Cuarites Henry Harv, in a letter,
April 4, 1917.
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JOHN SINGLETON COPLEY
AmeERIcAN: 1737—1815
Pa]
142—MRS. DAVENPORT: W ‘
“LADY DAVENPORT” (circa 1800)
7 Oa Height, 44 inches; width, 3614, inches
Aw affable lady with ready smile is seen at three-quarters length, stand-
ing beside a vase of tulips, for one of which she reaches; she clasps the
stem lightly, her right forearm being extended across her body to attain
the flower. Figure slightly to right, she faces front, before a conven-
tional background of gray, brown and olive notes. She has florid
cheeks and dark brown hair, and wears a low-cut gown of gray-brown
satin, generously adorned with silver fringe and with frills and flounces ;
flowing sleeves with lace, and lace-edged corsage.
Mrs. Davenport was the wife of John Davenport, a silversmith and buckle-
maker of Boston who removed to Portsmouth, New Hampshire, where for many
years he was town constable
whence arose, it has been rather imaginatively con-
jectured, the title “Lady Davenport” by which the subject has been known (possibly
from the lady’s bearing or personality). Buckle-making becoming unprofitable “by
reason of the introduction of shoestrings,” Davenport turned his premises into an
inn, according to information obtained by Mr. Smith from writings of Miss Abbie
Watson, late of Lowell, Massachusetts, and a book “Rambles Around Ports-
mouth,” which says: “On Ash Lane, on the corner of State street, stood the Ark
Tavern, kept by John Davenport. * * * Davenport then opened his premises as a
public house with the sign of Noah’s Ark and denominated his house Ark Tavern,
exhibiting in front a fanciful picture of an ark.” There Mrs. Davenport died,
“probably about 1818,” according to information given Mr. Smith, “while the
Supreme Court was sitting, in February, and she was kept until the court closed
business about three weeks after.” Miss Watson’s father bought the portrait as a
Copley, in Portsmouth, some eighty years ago.
In his book “John Singleton Copley,” Frank W. Bayley of Boston lists the
portrait as a Copley, describing it, and characterizing it as “a very distinguished
and handsome portrait of a lady by Copley, the subject of which is unknown.”
It was subsequently that Mr. Smith, through agents sent in search, obtained the
foregoing information.
Exhibited at the Worcester Art Museum.
JEREMIAH THEUS
AMERICAN: 1719—Il1774 Wow £ KE
MRS. HENDRICK VAN BUREN (1730-1797) :
Wife of Dr. Hendrick Van Buren
143
Height, 2984 inches; width, 25 inches
THREE-QUARTER-LENGTH standing figure of a bright-eyed and blond
young woman facing the spectator, head turned a bit to her right,
whence the light comes, enveloping the entire figure. Her oval face is
crowned by brown hair brushed loosely but smoothly back, and decked
over the centre of the forehead with a bow and red posies. She is in
blue, with heavy silver embroidery, the bodice tight and décolleté, with
lace-frilled elbow sleeves, and the skirt standing out in bulging hip-
folds. She holds a pink rose at her breast. Gray background.
Painted about 1750.
On back: “Mrs. Hendrick Van Buren (Catharine Van Voorhees) 1780-1797,
by Jeremiah Theus.”
From Charles Henry Hart, who wrote Mr. Smith: “The portrait you own came
direct from the subject’s family and is one of Jeremiah Theus’s very good works,
such as are only seen in some of the old families of South Carolina and Georgia.
* * * JT feel you may consider yourself very fortunate in the ownership of this
portrait, as it is the only example of a Theus portrait I have ever known to be
sold, they being cherished heirlooms in the families of the sitters.”
That letter is dated May 22, 1917. In January, 1919, a portrait of a man by
Theus, Alexander Broughton of South Carolina, was sold in the Thomas B. Clarke
Collection of Early American Portraits. (American Art Association; Plaza Hotel,
January 7, 1919.)
Theus was well known in his day, and after a period of obscurity is becoming
so once more. He reached South Carolina in 1739 from Switzerland, and so well
did he paint that during the decades of his occultation his portraits have in the
main been attributed to Copley.
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RALPH EARL
: ha pie +7.
American: 1751—1801 ols
144-MRS. NATHANIEL GARDNER,
OF GROTON, MASSACHUSETTS
go. -
Height, 30 inches; width, 25 inches
Hatr-teneru, seated, facing the spectator, a strong light from the
left illumining her features and her cream and rose breast, as she sits in
a lilac-hued silken gown, décolleté, with lace-edged corsage; lace frills
at her wrists and a creamy-white lace drapery enwrapping her shoul-
ders. Her abundant dark brown hair is worn in an elaborate dress,
spread and massed about her face and head, and it is looped with pearls
and crowned by nodding ostrich-plumes. She is seated on a dark green
sofa, against a neutral background of brownish notes.
Mrs. Gardner was the second wife of Nathaniel Gardner, of Boston and
Groton, whose portrait appears in the collection as a companion to this one; both
were painted in the same year by the same artist. For biographical notes see the
portrait of Mr. Gardner. Mrs. Gardner was Miss Mary Ann Lewis.
Painted in 1798. In original carved wood frame designed by Paul Revere.
Ralph Earl was born at Leicester, Mass., May 11, 1751; his father was among
those who marched to Lexington with the Governor’s Guards. He painted Revo-
lutionary scenes which were engraved by Amos Doolittle, and he died at Bolton,
Conn., in 1801. While he was in England studying under Benjamin West, West
obtained for him a royal commission to paint the king, George ITI.
RALPH EARL
AmeErican: 1751—1801 (4)
YU
145—NATHANIEL GARDNER, OF GROTON,
MASSACHUSETTS (1757-1800)
ae 5D. st Height, 30 inches; width, 25 inches
Suort half-length, the hands not included, turned slightly to right with
eyes front, the eyes blue, with a vague, reflective expression; aquiline
nose and thin, firm lips; florid countenance, and a wig supplementing
powdered hair banged low over the brow. A man of maturity beyond
his years, in a dark crimson coat with rose revers and waistcoat, and
white stock and jabot. Observed against a blackish background with
a single grayish-olive area of relief. (It has been observed that the
face suggests certain portraits of Washington.)
Nathaniel Gardner the son of Thomas (born 1728); great-great-grandson of
Thomas (born in England in 1641), who settled in Roxbury, Massachusetts, where
his great-great-grandson was born in 1757. Nathaniel married in 1782 Polly
Berry, who died in 1786 leaving two daughters. In 1787 he married Mary Ann
Lewis (whose portrait accompanies his own in this collection), by whom he had a
son and daughter. They lived in Boston, attending the Hollis street Meeting
House, afterward moving to Groton, where they maintained an estate and where
Nathaniel died in 1800. In 1798 in a letter to a member of his family he refers
to the beautiful portraits of his wife and himself, just received, painted by his old
friend Earl. Earl was a native of Leicester, where Gardner also had other friends,
two of whom he appointed guardians of his four children.
Ralph Earl, who was painting portraits in Leicester in 1771, followed Copley
to London in 177, studied under West and was admitted to the Royal Academy,
and painted a portrait of George III for Windsor Castle, being recommended to
the king for the commission while Copley, Stuart and Mather Brown were all in
England. He returned to Connecticut in 1786, and the next year Alexander
Hamilton found him in jail for debt in New York City, and secured for him com-
missions which enabled his release. He painted, besides portraits, four Revolutionary
scenes which Amos Doolittle engraved.
JOHN WESLEY JARVIS
AmERIcAN: 1780—1839
146—PORTRAIT OF A MAN
| (Panel)
| Jo On Height, 30 inches; width, 2434 inches
Hatr-LenetH seated, facing the observer, with a slight turn toward
the right; a stout man in youthful maturity, with keen eyes and warm
color, his dark brownish hair worn carelessly, falling easily about brow
and temple, and short but equally wandering side-whiskers continuing
below it. He wears a black coat and creamy-white waistcoat, and white
ruffled shirt, and a wing collar spreads its white folds over his black
stock. His right hand is in view, resting on the arm of his chair.
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CHESTER HARDING
AMERICAN: 1792—1866 (poe ic ‘
/
147—MRS. THOMAS BREWSTER COOLIDGE
A -
Height, 35 inches; width, 28 inches
Harr-tencru, standing, facing front with a slight inclination toward
the right ; in outdoor costume, an ermine-lined gray silk cloak covering
a rich olive gown; pale lemon-yellow gloves and black plume-laden hat
with white lace beneath it. A woman still young, with warm complex-
ion and sad, pale eyes, and brown hair which is worn in heavy curls
beside the temples. Neutral background of olive-gray and brown.
Mrs. Thomas Brewster Coolidge was Clarissa Baldwin, daughter of Colonel
Loami Baldwin of the Twenty-sixth Massachusetts regiment of the Continental
Army, who originated the Baldwin apple. This portrait descended to Benjamin
Coolidge, the eldest son of Mrs. Coolidge, and to his son Baldwin Coolidge, who
sold it to the Boston dealer from whom Mr. Smith acquired it. Chester Harding
also painted two portraits of Mrs. Coolidge’s brother Loami Baldwin, Jr., one of
which is in the Baldwin mansion at Woburn, Massachusetts, and the other in the
Engineers’ Club, Boston.
Chester Harding, born in Conway, Mass., in 1792, had a picturesque and erratic
career. He was a jack-of-all-trades in early life, painted houses and signs as
far away as Pittsburgh, went to Kentucky and worked as a professional portrait
painter there, and got together enough money to move to Philadelphia and begin to
study in earnest. He went back to St. Louis, and in 1818 journeyed a hundred
miles into the woods to paint a portrait of Daniel Boone, which is now in the
collection of Mr. Herbert L. Pratt. A decade later he was a fashionable painter
of women’s portraits in Boston, where he died in 1866.
JONATHAN BLACKBURN
American: (Circa) 1700-1765. [7
: bw. a
148—M RS. JOSHUA BABCOCK (1714-1778)
13 ot: Height, 45 inches; width, 3614 inches
THREE-QUARTER length, seated, to left, three-quarters front. In blue
décolleté gown, the bodice tight and decked with pearls and the elbow
sleeves caught up with pearls; lawn undersleeves; skirt loose, in heavy
folds. An orange drapery thrown over a balcony railing, and encircling
her back, falls lightly upon her right knee, and she rests her hand on
it, holding a nasturtium. With head held noticeably erect and firm,
she looks straight forward, past the spectator. Cheeks rosy; brown
hair bound with pearls. Conventional landscape background, with
cypress and other trees.
Mrs. Joshua Babcock (Hannah Stanton) was the wife of Joshua Babcock,
Chief Justice of Rhode Island.
Jonathan Blackburn was born in Connecticut, the son of a painter; had a
studio in Boston 1750-1765; is mentioned by Dunlap as a contemporary of Smibert,
and by Tuckerman as having executed notable portraits in Boston, Portsmouth,
N. H., and other New England cities. Represented in the Public Library, Lexing-
ton, Mass., and the Massachusetts Historical Society, but most of his portraits are
privately owned, the majority in Boston. It is said that he quit his Boston studio
from jealousy of Copley. “He was a good portrait painter, and some of his pictures
were long attributed to Copley."—Encyclopwdia Britannica.
Exhibited, Metropolitan Museum of Art, 1911; Brooklyn Institute of
Arts and Sciences, 1917.
Reproduced in Babcock Genealogy, 1903; Updike’s “History of the
Episcopal Church in Narragansett,” 1907.
Descent of the portrait: Mrs. Babcock (1714-1778) to her son Adam
(1740-1817) ; to his son William (1764-1840) ; to his daughter
Elizabeth (1817-1903), wife of Rev. S. S. Mathews; to her daugh-
ter Martha (1841-1900), wife of Dr. R. J. Pray; to her daughter
Mary (1873-1908) ; to her uncle the Rev. Samuel S. Mathews
(1847-1910) ; to his daughter Anna Elizabeth Mathews Richard-
son of Roxbury, from whom it was purchased by Mr. Clarence S.
Brigham of Worcester; thence to William Macbeth of New York,
from whom Mr. Smith bought it.
JOHN NEAGLE, N.A.
(Honorary Member, clected 1828)
American: 1796—1865 fo 2
149—MISS NEAGLE (MRS. JOHN DICKSON)
4751 Sr Height, 3014 inches; width, 2514 inches
HAr-Lencru, seated; very slightly to left. A mature young woman
m a rich black gown, with broad shoulder-collar of white lace, and
white lace cap with long lace strings. Dark hair and eyes, and warm
complexion. She looks at the observer, with a quiet, smiling expression.
Shadowed background.
On back: Painted by John Neagle, Phila., 1834.
Considered ‘“‘one of his father’s finest female portraits,” by Garrett C. Neagle,
from whom it was obtained by Gilbert S. Parker, a personal friend, who sold it
to Mrs. Anna P. Bly, from whom it passed, through a dealer’s hands, to Mr. Smith.
John Neagle was born in Boston of Philadelphia parents who were there on a
visit; he lived in Philadelphia and died there. He wedded Thomas Sully’s step-
daughter and niece, and it has been said that while Sully “painted the pretty
women” of the city by the Schuylkill, Neagle “painted the virile men.” He painted
in Boston what has been called the best portrait we have of Gilbert Stuart; so at
least Hart regarded it.
ASHER BROWN DURAND, P.N.A.
Amertcan: 1796—1886 |, \ ‘
150—MRS. WINFIELD SCOTT (1787-1 866)
Q 25.7 Height, 34 inches; width, 27 inches
Turee-quarter length seated, face to the front and figure slightly to
the left; a dark-eyed young woman with creamy complexion and black
hair, who does not look the years which the date on the canvas gives
her (44). Décolleté gown of creamy-brown, the corsage lace-edged,
with short puff sleeves, and voluminous secondary sleeves of white gauze
coming to the wrists. Her right arm rests on a marble-top table, be-
side a crimson dahlia, and she holds a pale purplish dahlia in her hand.
The background includes a river landscape suggesting the Highlands
of the Hudson or the Staten Island hills.
Signed at the lower left, A. B. D., 1831.
Mrs. Winfield Scott (Maria Mayo), wife of General Winfield Scott, was a
daughter of John Mayo, Esq., of Richmond, Virginia.
Exhibited at the Brooklyn Institute of Arts and Sciences, 1917.
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CHARLES LORING ELLIOTT, N.A.
AmeErIcAN: 1812—1868
Ot
151—PORTRAIT OF AN
UNIDENTIFIED YOUNG MAN
. Sas ace : Sips :
b VY Height, 36 inches; width, 28 inches
THREE-QUARTER-LENGTH standing figure of a well-set-up young man
with clean-cut features, quiet brown eyes and bushy dark brown hair;
he faces slightly toward the right, with right arm akimbo with a rest
on an abutting balustrade. He is in black, with white waistcoat and a
rich black neck-cloth, in the fashion of the second quarter of the nine-
teenth century, and he wears as an outer coat a rich fabric of a soft
golden-brown hue. Painted as a “portrait of a portrait’”—the subject
seen as painted against a sky background within an oval frame, the
whole on a rectilinear canvas.
Instead of declaring according to his custom that “in my opinion it is,” Charles
Henry Hart wrote of this portrait to James P. Labey of New York of whom Mr.
Smith purchased it that it “is painted by Charles L. Elliott (1812-1868) who was
the successor of Inman as easily the best portrait painter in the country for a
score of years prior to the Civil War. This portrait is a fine example of Elliott’s
work circa 1840, beautifully handled with much charm in its color, treatment and
expression, that belong essentially to Elliott’s hand. I consider it a most desirable
example of the work of this excellent painter.”
ATTRIBUTED TO
EDWARD SAVAGE
AmeERIcAN: 1761—1817 4 (] ¢
f
152—GEORGE WASHINGTON AND FAMILY
/ o0- — Height, 25 inches; length, 30 inches
A sMALL painting, its composition that of the large canvas owned by
the Democratic Club—widely known for generations. A canvas painted
(aif by Savage, as is believed) by one of the painters who painted Gen-
eral Washington and Mrs. Washington during their lifetime (although
their portraits in the large “Family” group were not from life but from
Savage’s own earlier originals). In the small picture here the General
in his dark blue and buff military uniform sits at left, with right arm
on the Custis boy’s shoulder, left hand on a chart the other end of
which is held by Mrs. Washington, who is sitting opposite him on the
right; Eleanor Custis, standing back of her, also takes hold of the
chart. Behind Mrs. Washington stands the negro servant Billy Lee.
Scene, the portico of Mount Vernon, with red draperies, and in the
distance the Potomac at sunset.
Edward Savage was born at Princeton, Worcester county, Massachusetts,
where he died; son of Seth; grandson of Edward who came from Ireland in 1696.
The grandfather Edward was son of Abraham Sauvage, who had been driven to
Ireland from St. Algis, Picardy, by the revocation of the Edict of Nantes. Edward
the grandson came to New York at the age of twenty-eight with a letter from the
President of Harvard requesting Washington to sit for a portrait for the Uni-
versity; Washington did so. (Washington’s Diary 1789-90.) In 1791 Savage went
to London; studied under West; became an accomplished stipple engraver; returned
to Boston; settled in Philadelphia after 1794; issued numerous plates after his own
paintings of famous men and women, including the “Washington Family” so
well known, which was published in 1798. Early in the nineteenth century Savage
returned to live in Massachusetts.
COLONEL JOHN TRUMBULL
American: 1756—1843 1)
158—_SORTIE FROM GIBRALTAR
9) poem Height, 20 inches; length, 30 inches
BY i) Y
Tue historic military episode the oral recital of which so greatly im-
pressed Col. ‘Trumbull that he was impelled not only to paint it but to
paint it five times, is pictured in a representation of more than fifty
figures, a score of them carried to fine detail and the principal charac-
ters portraits. In a night landscape lightened by a brilliant and lurid
conflagration—as the tragic event and its vivid pictorial contrasts were
related to the painter. The Spanish hero prone, poniard in hand, as
he looks back toward the slaughter and flames at the left, raises an arm
before the British officers who stand grouped before him at the right.
In the background at the right the British colors, and at the left forces
fighting in the firelight and the flames.
“In May of this year (1787) M. Poggi told me the story of the sortie from
Gibraltar, which had taken place in 1781. We were walking in Oxford street, in
early twilight. I went to my lodgings, and before I slept put upon paper a small
sketch of the scene, now in the possession of the Atheneum, Boston.”—Trumbull’s
Autobiography.
Trumbull first painted the picture on a canvas fourteen inches by twenty-one,
which he presented to West; finding he had made a mistake in the uniform of the
principal figure he painted a second canvas, twenty inches by thirty, which was
sold to Sir Thomas Baring for five hundred guineas. It is this canvas which is in
the present collection. It was finished in 1788. His third and largest canvas,
finished the following year, is the one now in the Boston Museum of Fine Arts.
His fourth he retained, it was inherited by his niece, and is now owned by Mrs.
C. L. F. Robinson of Hartford. The fifth is now in the collection of Herbert L.
Pratt of New York. The sizes of the third, fourth and fifth canvases are respectively,
72 by 108 inches, 371, by 581% inches, and 35 by 58 inches.
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LIST OF ARTISTS REPRESENTED AND
THIER WORKS
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LIST OF ARTISTS REPRESENTED
AND THEIR WORKS
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ALEXANDER, Francis
John L. Gould 28
Master Lord 31
Portrait of a Lady 52
AMES, Ezra
N. Allen, Esq. oF
AUDUBON, Joun James
Miss Audubon 32
Birds 33
BADGER, Josrry
Captain John Larrabee, Lieutenant of Castle
William 79
BANNING, Wiu1am J.
Samuel Waldo (1783-1861) 35
BEECHEY, Sm Wun, R.A.
Beggars at a Cottage Door: Scene near Dover,
England 18
Portrait of a Naval Officer 97
BENBRIDGE, Henry
Portrait of a Man 54
BIRCH, Tuomas, N.A.
The Shipwreck V7.
BLACKBURN, JonatHan
Mrs. Joshua Babcock (1714-1778) 148
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