YAl E N vfF 3 9002 04972 0023 A 4972 0023 ,,ilh||./rri'i ' 4^i 4> , ' t. ,^- '9;' o t?^ ^f ^^r. ,1' 1 ' ' sit ' ? -:<.^CK YALE UNIVERSITY ART LIBRARY EXHIBITION OF EARLY AMERICAN PAINTINGS EARLY AMERICAN PAINTINGS CATALOGUE OF AN EXHIBITION HELD IN THE MUSEUM OF THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES BROOKLYN FEBRUARY 3d TO MARCH 12th 1917 COPYRIGHT, I917 BY THE MUSEUM OF THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES The edition of this catalogue is limited to five hundred copies of which this is No. 1 51 THE BROOKLYN INSTITUTE OF ARTS AND . SCIENCES OFFICERS OF THE BOARD A. Augustus Healy President George D. Pratt First Vice-President Horace J. Morse, Second Vice-President Walter H. Crittenden Third Vice-President Herman Stutzer Secretary and Acting Treasurer THE museum governing COMMITTEE Walter H. Crittenden, Chairman Samuel P. Avery Frank L. Babbott Edward C. Blum George W. Brush Luke Vincent Lockwood John Hill Morgan George D. Pratt William A. Putnam Herman Stutzer A. Augustus Healy, ex-officio the exhibition committee John Hill Morgan, Chairman Luke Vincent Lockwood Walter H. Crittenden A. Augustus Healy, President, and William Henry Fox, Director, ex-officio. THE department OF FINE ARTS William Henry Goodyear, Curator A. E. RuEFF, Assistant Curator early AMERICAN PAINTINGS CONTENTS ARTIST SUBJECT PAGE Ames, Ezra, early nineteenth century I Governor George Clinton . , , I 2 Mrs. James King .... 2 Badger, Joseph, 1708-1765 3 Captain John Larrabee ... . . . 3 Beard, James Henry, i8 14-1893 3a President William Henry Harrison. . . , , 3a Birch, Thomas, 1779-1851 4 The Constitution and the Guerriere , . . 4 5 The United States and the Macedonian .... 5 6 The Wasp and the Frolic 6 Blackburn, Jonathan, ca. 1700-ca. 1765 7 Mrs. Joshua Babcock 7 Copley, John Singleton, 1737-1815 8 Adam Babcock . . ... 8 9 Mrs. Adam Babcock ... . . ... 9 10 Mrs. John Bacon lo II Mrs. Joseph Barrell II 12 Mrs. Joseph Barrell 12 13 Mrs. Ben. Davis 13 14 Mrs. Isaac Holmes 14 15 John Bee Holmes 15 16 Jonathan Mountfort ... 16 17 James Murray 17 CONTENTS Copley, John Singleton (Continued) ARTIST SUBJECT PAGE i8 Colonel Epes Sargent . . .18 19 Daniel Crommelin Verplanck . 19 20 The Death of the Earl of Chatham (Study) . . 20 21 The Death of Major Pierson (First sketch for) . . 21 DuNLAP, William, i 766-1 839 22 Robert Snow , , , . 22 Durand, Asher Brown, 1796-1886 23 Mrs. Winfield Scott . . . . , , 23 Earl, Ralph, 1751-1801 24 Mrs. Charles Jeffery Smith . . . 24 Eichholtz, Jacob, i 776-1 842 25 Mary Justice Cooper . . 25 26 William Heathcote De Lancy . . ... ... 26 27 John Howard Payne .... ,27 Elliott, Charles Loring, i8 12-1868 28 General John C, Fremont , . . . . . . . 28 Feke, Robert, ca. 1750 29 Pamela Andrews ... ... 29 Hall, George Henry, 1825-1913 30 Portrait of the Artist . 30 Harding, Chester, 1792-1866 31 Daniel Boone , . . -31 32 Edward Hutchinson Robbins ... 32 Healy, George Peter Alexander, 1808-1894 33 Moses Pond , . . , . , ... 33 Hesselius, Gustavus, 1682-1755 34 The Last Supper . ... , . . ... 34 Huntington, Daniel, 1816-1906 35 President Martin Van Buren ^c 36 The Sketcher (Mademoiselle Rosina) . , 36 early AMERICAN PAINTINGS ARTIST SUBJECT PAGE Inman, Henry, 1802-1846 37 Fanny Kemble Butler , 37 38 Rev, Henry Croswell , .38 39 William Inman . . . 39 40 Mrs. Robert Lowden , . 40 41 President James Madison . . -41 42 Hezekiah Beers Pierrepont . .... 42 43 View of Rydal Water . . 43 Jarvis, John Wesley, 1780-1834 44 Colonel James Burn . 44 45 Governor De Witt Clinton 45 46 Colonel William Croghan , 46 47 Lucy Clark Croghan 47 48 Peter Augustus Jay , , , 48 Leslie, Charles Robert, 1794-1859 49 Portrait of a Lady . 49 Marchant, Edward D., i 806-1 887 50 President William Henry Harrison . 50 Morse, Samuel Finley Breeze, 1791-1872 51 President John Adams . , , 51 52 Moss Kent , . . . ... . , 52 S3 Marquis de La Fayette 53 54 Stephen Mix Mitchell ........ 54 55 Hannah Mitchell (Mrs. S. M. Mitchell) ... . , .55 56 Susan Walker Morse (Known as "The Muse") .... .56 Neagle, John, 1799-1865 57 Levi Dickson . . . . . , -57 58 Sergeant Andrew Wallace , . . 58 Otis, Bass, 1784-1861 59 President William Henry Harrison ... 59 Peale, Charles Willson, 1741-1827 60 Captain Robert Allen . . , . 60 61 Mrs. G. Bell . . . , , 61 contents Peale, Charles Willson (Continued) ARTIST SUBJECT PAGE 62 Colonel Tench Tilghman . . 62 63 George Washington (Bust) . . ... 63 64 George Washington (Full-length) . 64 Peale, James, 1749-183 i 65 James Hamilton 65 Peale, Rembrandt, 1778-1860 66 President William Henry Harrison 66 67 William Hill . 67 68 Mrs. William Hill . . 68 69 Chief Justice John Marshall . . 69 70 George Taylor , . . 70 71 George Washington . , . 71 72 George Washington (Port-hole type) , . , . 72 Pine, Robert Edge, 1730-1788 73 General Horatio Gates . ¦ • Ti 74 General Henry Lee . . . , , 74 75 George Washington . . • . 75 76 Mary Ball Washington 76 Pratt, Matthew, i 734-1 805 77 Mrs. Peter De Lancey . 77 Saint-Memin, Charles Balthazar Julien Fevret de, 1770-1852 78 James Campbell ... 78 79 Theodore Gourdin . . 78 80 Seth Hastings , . . , . . 78 81 A Philadelphia Gentleman . 78 Savage, Edward, 1761-1817 82 General Henry Knox . . . -79 Sharples, James, ca. 1751-1811 83 Dr. Elihu Smith , ... 80 84 Dr. Reuben Smith . .80 85 Charlotte Tabb 80 86 Emory Tabb . . go 87 George Washington (profile) 80 88 George Washington (full-face) . . 80 EARLY AMERICAN PAINTINGS ARTIST SUBJECT PAGE Smibert, John, 1688-175 i 89 Alexander Garden 8i Stuart, Gilbert, 1755-1828 90 Colonel Isaac Barre . . ..... 82 91 Captain John Chestnut .... 83 92 Lady Frances Erskine , . , 84 93 General Peter Gansevoort 85 94 Thomas B. Law ... 86 95 Mrs. Thomas B. Law 87 96 President James Madison , 88 97 Judge Thomas McKean 89 98 Samuel Myers ... go 99 Captain Richard Pearson gi 100 Colonel William Stephens Smith , . -92 IGI George Washington (Athenaeum type) 93 IG2 George Washington (Vaughn type) 94 103 George Washington (Lansdowne type) , 95 104 John Watts, Sr . ,96 Sully, Thomas, 1783-1872 105 Captain William Chamberlain , , 97 106 Mrs. William Chamberlain . 98 IG7 Elizabeth Cook (Mrs. B. F. Bache) . . 99 108 Joseph A. Dougan . . 100 109 Theodore Gourdin ... loi 1 10 John Hogg .... . . . 102 III Lieutenant William Henry Korn 103 112 Hannah Seagraves Reeves . . 104 113 The Spanish Mantilla , , 105 113a Jane Cooper Sully . , . 106 Sully, Thomas Wilcocks, Jr., 1811-1847 114 President John Tyler . . 107 Trumbull, John, 1756-1843 115 William Brown . . , , io8 116 Governor George CHnton 109 117 Alexander Hamilton . no contents Trumbull, John (Continued) ARTIST SUBJECT PAGE Ii8 Ralph Kirkley , . . , , , III 119 Peter Lanman , , . . 112 120 Mrs. Peter Lanman . , , . , 113 121 Sortie from Gibraltar . . . , , , , 114 Vanderlyn, John, 1755-1852 122 Colonel Moses Thomas , ... . . . 115 123 Sampson v. S, Wilder . . 116 Waldo, Samuel L. 1783-1861 124 Mrs. Sampson v. S. Wilder . . . -117 125 William Steele . , . . , . 118 126 Mrs. William Steele . . , . . -119 127 Joseph Moss White . ... . 120 128 Portrait of an Unknown Gentleman , 121 Wertmuller, Adolf Ulric, 1749-1812 129 Andrew Hamilton, IVth , . , , . 122 130 Mrs. Andrew Hamilton 123 131 Portrait of the Artist . . 124 West, Benjamin, 1738-1820 132 Dr. Enoch Edwards . , . 125 133 American Peace Commissioners, Treaty of 1782 . 126 Winstanley, William, Late eighteenth century 134 President John Adams . 127 Woolaston, John, ca. 1750 135 Portrait of a Gentleman, thought to be Lawrence Washington . . 128 Unknown Artists, eighteenth century 136 Major John Dies . 129 137 Mrs. John Dies j^o 138 Johannes Panet j^j 139 Anna Maria Panet 1^2 140 Frances Peyton Tabb 13, early american paintings FOREWORD THE object of this Exhibition of American paintings is to represent chronologically, as far as that may be possible, the advance of the art of painting in this country between 1750 and 1850. These dates are merely indicative of the period displayed and are not intended to limit too closely. All of the artists represented were not of American birth nor was every canvas painted on this side of the Atlantic, but each is so intimately connected with our country in one way or another that a place on our walls is justified. The division of these painters into three groups is purely arbitrary and made for convenience. I PRE-REVOLUTIONARY GROUP Settlements in a new land would naturally be made at or near the mouth of a river and, as population increased, follow the line of least resistance back from the sea. This course would leave wide stretches of wilderness. Roads there were, but previous to 1750 there was little communication between the colonies and that largely by water. Conditions being rude and severe, and travel difficult, it followed that unusual development in one line was slow in reaching another colony. FOREWORD if at all, and while there are some slight traces of painters in New England and Pennsylvania before 1700, the art in Amer ica may not be said to begin before the first quarter of the eighteenth century. One writer says : " Particularly in New England the early colonists, who came of one of the least artistic races of Europe, were themselves largely the least artistic of their race. Few came from the classes of society which had the wealth and the leisure to com mand the enjoyment of works of art, and the leaders, as well as the masses, cultivated a form of piety which on the whole was naturally rather abhorrent of art as a frivolous amuse ment. "^ It is probable that especially in the South, there were many itinerant portrait painters in the last decades of the seven teenth century, who traveled from plantation to plantation, or city to hamlet, exercising their crude art for a precarious living, but their names have been mostly forgotten and their handiwork destroyed. Tuckerman notes that "Cotton Mather, in his 'Magnolia,' speaking of the aversion of John Wilson to sit for his portrait, says : ' Secretary Rowson introduced the limner' — showing that there were limners in Boston in 1667." ^ It is true that some of the wealthy planters of the South went "home" or sent their children to be educated in England and a few examples of English portraits then painted still exist. There is recorded a list of paintings and portraits by European masters owned in this country before the Revolution,' but it ' "Robert Feke, The Early Newport Portrait Painter, and the Beginnings of Colonial Painting " by William Carey Poland, page 4. 2 "Book of the Artists," page 7. ' Ibid, pages 43-44. FOREWORD is difficult to state how many of the attributions would stand the higher criticism of to-day, and in New England, at least, there were few, if any, pictures to stimulate the art of painting until Smibert brought his own copies to Boston in 1730. Few artists had more than a local clientele. Here and there a "limner" succeeded in obtaining a foothold and his name may survive in an example now banished to the dark corner of some local historical society, but of an organized progress of art there was none. To GUSTAVUS HESSELIUS (1682-1755), a Swede, must be given the honor of having the first record as a painter which may be said to emerge from tradition, and also of having received the first commission known to have been executed in this country. On September 5, 1721, he was employed "to draw ye history of our Blessed Savior and ye Twelve Apostles at ye Last Supper" for the altar of St. Barnabas' Church, Queen Anne Parish, Maryland. The price of £17 was paid on November 26, 1722, for this altar piece. The church was destroyed in 1773 and all trace of the painting lost for many years. The history of "The Last Supper," No. 34, is given in the appropriate place in this catalogue and the picture exhibited in the belief that it is the lost work of Hesselius. We owe to JOHN SMIBERT, sometimes written Smybert (1688-175 1) a Scotchman, a debt of gratitude, for Verplanck is quoted as saying "the best portraits which we have of the eminent magistrates and divines of New England and New York, who lived between 1725-175 1, are from his pencil."* The record of his life is to be found in Walpole's "Anecdotes ^"Arts of Design in the United States " by William Dunlap, Vol, I, page 27. iii FOREWORD of Painting in England," which records that he joined the fantastic scheme of Dean afterwards Bishop Berkeley, who came to America set with the purpose of erecting a universal college of science and arts in the Bermudas "for the instruc tion of heathen children in christian duties and civil knowl edge." Smibert reached Newport, Rhode Island, in January, 1729, and the plan of the good Bishop having failed, finally settled in Boston, where he died in 175 1. He is chiefly remembered by his portrait of Bishop Berkeley and his com panions, which now hangs in the "Commons" Hall of Yale University. Some authorities state that Smibert was the master of Copley, but it is probable that it was by the example of his work, and not by actual instruction, for, as has been pointed out, "Smybert . . . brought to this country casts, drawings, prints, and many copies of old masters. Copley was fourteen years of age at the time of Smybert's death in 175 1 and he must have derived great benefit from seeing the copies made by Smybert. "5 Allston also speaks of the influence which Smibert's copies of foreign pictures made upon him and records his gratitude for the instruction which his work gave him. No. is 89 from Smibert's brush. JONATHAN BLACKBURN (i7oo?-i765), another New England artist, deserves a place in this group. Very little is known of his life. It has been suggested that he was the son of 'an itinerant painter and Jack-of-all-trades, Christopher B. Blackburn," and that he was born in Wethersfield, pos sibly about 1700." We know that he was painting portraits in Boston from 1750 to 1765, after which date information '"John Singleton Copley" by Frank W. Bayley, page 6. ' "Art and Artists. of Connecticut" by H. B. French, page 30. IV FOREWORD ceases. "The Proceedings of the Massachusetts Historical Society" for 1878-9 record fifty portraits attributed to him. No. 7 is an example of this artist. Recent research into the life of ROBERT FEKE, while it has destroyed most of the traditions which had grown up around his name, has added little to the sum of our positive knowledge. We know that he was the son of a Baptist minister of Oyster Bay, Long Island — Robert Feeks (sic) — and that he may have been in Newport as early as 1729 from a subscription made by one of that name to rebuild a Baptist church in New York. We know that he married Eleanor Cozzens in Newport in 1742, and painted the portrait of the clergyman who performed the ceremony — Rev. John Cal- lender. We know that he worked in Newport, New York and Philadelphia and that but little of his work has survived. Other known portraits are those of Charles Apthorp and his wife, Ralph Inman and his wife, Mrs. Charles Willing and Tench Francis, both dated 1746, the Rev. Thomas Hiscox, Mrs. Joseph Wanton, his own portrait and that of his wife in the possession of his descendants in Providence, and the portraits of Governor James Bowdoin and his brother, William Bowdoin, and their respective wives, which are per haps the best known examples of his work.' His earliest known painting, the portrait of Isaac Royal and his family is signed "Finished Sept. 15, 1741, by Robert Feke." Feke is said to have died at the age of forty-four*, but no authentic information of his birth or death has been found. An interest ing sidelight upon his life appears in the following excerpt from Hamilton's Itinerarium, which is a narrative of a journey ' Digested from pamphlet on Robert Feke by Dr. Poland. * Historical Magazine, i860, page 20. FOREWORD made by a Dr. Alexander Hamilton. Of the happenings of Monday, July i6, 1744, a day spent in Newport, Dr. Hamilton writes : "He carried me to one Feake, a painter, the most extra ordinary genius ever I knew, for he does pictures tolerably well by the force of genius, having never had any teaching. I saw a large table of the Judgment of Hercules, copied by him from a frontispiece of the Earl of Shaftesbury's, which I thought very well done. This man had exactly the phiz of a painter, having a long pale face, sharp nose, large eyes — with which be looked upon you steadfastly, — long curled black hair, a delicate white hand, and long fingers."' The picture of Pamela Andrews, No. 29, is said to represent the heroine of Richardson's novel, and depicts "the fair sub ject dressed as a servant on the eve of her romantic marriage."'" JOSEPH BADGER (1708-1765). Paintings by this artist have only lately been identified in any number and his name taken .its place among our early painters of note. The fol lowing is from a letter received in reply to a request for infor mation regarding this artist: "Joseph Badger was a son of Stephen and Mercy (Kettell) Badger of Charlestown, Massachusetts, where he was born in 1708. He married in 173 1 and probably removed to Boston, soon after which was apparently his home for the remainder of his Hfe. He died in Boston in 1765, leaving a widow and several children and an insolvent estate. I have thus far dis covered about seventy portraits painted by him, many of which have for years been passing for the work of Smibert, Copley or Blackburn. If you are to have the John Larrabee 'Quoted from Pamphlet on Feke, Ibid., page 25. "Ibid., page 22. VI FOREWORD portrait you will have the largest and most important example of his work which I have found and one which in its mannerisms is very typical of his style. "'i Students of this painter point out his method of posing the right hand of his male subjects, i. e., the thumb concealed in the pocket, the index and second fingers spread at full length on the waistcoat, and the two remaining curled under the palm. This is as marked a characteristic in the work of Badger as the "almond eyes" of the unknown artist who goes by that name for want of a better. The Will of Timothy Orme of Boston (1757) shows that the sum of £6 each was paid to "Badger the Face Painter" for three portraits,!^ — certainly not excessive pay. The portrait of John Larrabee is No. 3. JOHN WOOLASTON painted largely in Pennsylvania and the South and he is familiar to us by his portrait of Martha Dandridge, the wife of George Washington. Dunlap makes two references to a painter of this name which may be the same man; he records (i) a Woolaston, as painting in Phila delphia in 1758 and in Maryland in 1759-60 and that Francis Hopkinson published verses in his praise in the American Magazine for September, 17 S^',^^ and (2) a Woolaston, an English gentleman who painted a great many portraits in Virginia and Maryland in 1772." MATTHEW PRATT (1734-1805) is said to have acquired the rudiments of his art from his uncle, James Claypool. Pratt's portrait of Lieutenant-Governor Cadwallader Colden, "From Lawrence Park, Esq., of Groton, Massachusetts, to the writer 12-3 1-16. 12 From an article by John W. Harrington, N. Y. Sun, Jan. 7, '17. ""Arts of Design," Vol, 1, page IG3. "Ibid., page 144. Vll FOREWORD now owned by the Chamber of Commerce of New York, and his picture of West's studio with his pupils, owned by the Metropolitan Museum, are well known. He studied under West in England for four years and returned to Philadelphia and died there in 1805. "His portraits, though of no high artistic merit, are considered as exhibiting talent and truth, and, like those of Trumbull and Copley, are often the only representations extant of early American leaders in civil and social life."i' He is represented by No. 77, the portrait of Mrs. DeLancy. While the researches of the last ten years have added the names of John Greenwood, Nathaniel Emmons, Winthrop Chandler, Benjamin Blythe, John Johnston, William Verstille, Lawrence Kilburn and others" most of whom painted in and around Boston, their work is little known and has had little effect upon American art which can be measured. The American period of JOHN SINGLETON COPLEY, which may be roughly fixed at 1753-1774, is alone important for the purpose of this Exhibition, and brings this group of painters to a brilliant close. Copley received his first instruc tion from his step-father, Peter Pelham, an engraver of some note. At about fifteen he painted a portrait of his step brother, Charles Pelham, and at sixteen a portrait of the Rev. William Welsteed, which now belongs to the Massachusetts Historical Society. An example of his precocity is seen in No. 16, being the portrait of Jonathan Mountfort of Boston, dated 1753 and painted when the artist was sixteen. His portrait of his step-brother, Henry Pelham, known as "The Boy with the Squirrel," was consigned to Benjamin West in ""Tuckerman — Book of the Artists" page 48. i« "Little known Early American Portrait Painters," by Frank W. Bayley. Vlll FOREWORD London and exhibited in 1766, and in the same year Copley was elected a member of the Society of Artists of Great Britain. Copley's rise as a painter in this country was rapid. Charles Willson Peale sought his instruction as early as 1768 and John Trumbull later desired to become his pupil. He was undoubtedly the fashionable portrait painter of the day and while there are many of his works here shown, the portraits of Mrs. John Bacon (Elizabeth Goldthwaite) No. 10, and Mrs. Ben. Davis (Anstice Greenleaf) No. 13, are typical ex amples of his portraiture of this period. Here the exquisite texture of the satin, the filmy lace, and the broad, heavy shadows modelling the lighted portions of the face, portray Copley's art at its best. In 1774 Copley went to England, studied in Italy and settled in London in 1775, where he resided until his death. He became the fashion in England and, falling in with the taste of the day, engaged in the painting of historical pictures, along with portraiture. Copley's copy of "The Death of the Earl of Chatham," No. 20 and the first sketch for "The Death of Major Pierson," No. 21, the finished products from which now hang in the National Gallery in London, give some indication of this branch of his art. Copley never returned to this country. His son, born in America, was educated at Trinity College, Cambridge, and after a distinguished career at the Bar became Lord Chancellor of England under the name of Baron Lyndhurst. Copley's art and life became so con nected with England and his style so influenced by his models Reynolds and Gainsborough that no example of his later portraiture has been included, as outside of our range. It is to be regretted that no portrait in wax by PATIENCE WRIGHT has been found for exhibition, nor is there an ex- ix FOREWORD ample of the portraiture of her son, Joseph Wright. Patience Wright, famous in this country for her wax portraits, went to England in 1772 and lived the remainder of her life in England and France, dying in London in 1785. It is interesting to note that her daughter became the wife of the English artist John Hoppner. II Concerning the second group — Portrait painters of the Revolutionary and early Constitutional period — facts are more numerous. With the increase of population and wealth, the customs of the people became more luxurious. With the increased ease of travel many artists attained more than a local influence and reputation. Records were kept with greater frequency so that the details of their lives and work are many and exact. The close of the Revolution left Washington as the over shadowing figure on the American continent. It was natural that not alone local artists but visiting painters during this period should have sought to transmit to canvas his majestic face, as an introduction to the American public and the patriotic demand was so great that literally hundreds of portraits of Washington then painted — good, bad and indif ferent — exist. The most familiar portraits, of course, are those by GILBERT STUART. We are particularly fortunate in being able to show the following portraits of Washington : I. Gilbert Stuart The Athenaeum Type No. loi 2. Do The Vaughn Type No. 102 3- Do An original portrait of the Lansdowne Type No. 103 4. Charles Willson Peale Bust Portrait No. 63 FOREWORD 5- Do Continental Type No. 64 6. Robert Edge Pine No. 75 7. Rembrandt Peale A Portrait of the Type painted when Peale was eighteen years old No. 7 1 8. Do The Composite or Port Hole Type of 1824 No. 72 9, 10. Two Pastelles by James Sharpies Nos. 87 and 88 Stuart states that he painted three original portraits of Washington from life." Tuckerman says that he made twenty- six copies of these originals, but as Miss Johnston points out in her book, "either his memory or his record has been at fault,"'' as she gives a list of fifty-nine by Stuart of different types. Among Stuart's effects was found a list dated April 20, 1795," showing that he then had thirty-nine orders for copies of his Washington. As the first portrait was of the Vaughn Type painted in 1795, and as it is probable that he did not begin to meet this demand until 1796, most of the copies known were made from the unfinished "Athenaeum" head then painted, which he retained in his possession until his death. Several writers record the unscrupulous request of Winstanley that Stuart visit his studio and touch some of the copies made by him with his riding whip so that Winstanley might sell them as having received the last touches from Stuart's hands, and his indignant refusal.^o Later research has probably raised the number of the Athenaeum copies to between fifty and sixty and of the Vaughrr to nine. Of the portraits known as of the Lansdowne type Stuart "See letter quoted in Tuckerman "Portraits of Washington," page 57. ""Original Portraits of Washington," page 80. " " The Life and Works of Gilbert Stuart," by George C. Mason, page 87. 2» "Portraits of Washington," by Henry T. Tuckerman, page 59. xi FOREWORD painted three. One for William Bingham which, signed and dated, is now in the possession of the Pennsylvania Academy of the Fine Arts; a second for William Constable and a third on the order of Mr. Bingham, who desired to present it to the Marquis of Lansdowne "in remembrance of his generous defense of the cause of America in the House of Lords." The portrait shown. No. 103 is the one painted for Mr. Constable, and we quote from the recollections of his daughter, Mrs. H. B. Pierrepont as follows: — "After our return from England in 1795, my father went to Philadelphia, and, at the request of his mother, engaged Stuart to take his Hkeness for his family. Gilbert Stuart was, at the time of my father's visit (1796) painting a full length portrait of Washington for Mr. Bingham, who presented it to the Marquis of Lansdowne. My father was so much pleased with it that he engaged Stuart to paint one for him at the same time, as the General was giving him sittings. Stuart, who was well acquainted with my father, promised both pictures should be worked upon alternately, so that both should be originals." This portrait, which differs somewhat in lighting and details from the other two, hung in old Constable home, which stood on the present site of the Astor house, until 1803. In 18 12 Mr. H. B. Pierrepont purchased it from his brother-in-law and it has ever since hung in the Pierrepont Mansion on Pierrepont Place, Brooklyn, N. Y. Stuart painted one or two similar portraits which are known as the "Tea Pot Type" by reason of the position of the right arm. Trumbull says Charles Willson Peale painted Washington fourteen times from life. James Peale, his brother, painted xii FOREWORD Washington in miniature and at full length, and Rembrandt Peale, his son, acknowledged making seventy-five replicas of his Port Hole Type alone, and indeed spent most of his life in depicting Washington in one way or another. The Washington portrait by the English artist Robert Edge Pine is particularly interesting as showing a type not familiar to the general public. Pine painted at least four portraits of Washington all of which were in his possession when he died as appears by the inventory of his estate. No. 75 is one of these andwas purchased in Montreal in 18 17 from the nephew of the famous Quaker doctor of London, John Croakley Lett- some, by Henry Brevoort, descended to his son, J. Carson Brevoort of Brooklyn and is still in the possession of his descendants. From entries in Washington's Diary we know that Pine spent about three weeks at Mount Vernon, the first entry being as follows : — "1785. April 28th, Thursday. — To Dinner Mr. Pine, a pretty eminent Portrait & Historical Painter arrived in order to take my picture from the life & to place it in the Historical pieces he was about to draw." No reference to the Washington portraits would be complete without quoting his reply to Mr. Hopkinson's request that he permit Pine to paint his portrait, part of which is as follows : "I am so hackneyed to the touches of the Painter's pencil, that I am now altogether at their beck, and sit, like Patience on a monument, whilst they are delineating the lines of my face. It is a proof, among many others, of what habit and custom may effect. At first I was as impatient at the request, and as restive under the operation, as a colt is of the saddle. The next time I submitted very reluctantly, but with less xiii FOREWORD flouncing. Now no dray-horse moves more readily to the thill, than I to the Painter's Chair.''^^ No portrait of Washington by Trumbull was available, but those interested may see an example in the Governor's Room of the City Hall, New York City. WILLIAM DUNLAP (1766-1838) is chiefly to be remem bered because of his book "History of the Rise and Progress of the Arts of Design in the United States," — the first work of authority which deals with American art. He is repre sented by the portrait of Robert Snow, No. 22, first President (1823-1826) of The Brooklyn Apprentices' Library Associa tion — the name under which the Brooklyn Institute of Arts and Sciences was incorporated. Of AMES, EARL, OTIS, WERTMULLER and WIN STANLEY examples are shown, and MALBONE is repre sented by some examples of his exquisite work in miniature. CHARLES WILLSON PEALE (i 741-1827) born at Ches terton, Maryland, exercised great influence upon art in this country. He is said to have been instructed by John, son of Gustavus Hesselius, to have consulted Copley who lent him a picture to copy, and Dunlap quotes his son, Rembrandt Peale, as saying that "The sight of Mr. Copley's picture-room afforded him great enjoyment and instruction. "^^ He went to London in 1768 bearing letters to Mr. West and remained there two years as an inmate of his home. Established in Philadelphia, he joined the Continental Army as Captain of Volunteers and was present at the Battles of Trenton and Germantown, and after the Revolution, like many of the 21 '< 22 * Johnston's Original Portraits of Washington," page 40. 'Arts of Design," Vol. I., page 137. XlV FOREWORD artists of the day, derived a considerable part of his income from painting portraits of Washington and replicas and copies thereof for the Legislative Halls of the various states, or for the private collections of patriotic citizens. His most impor tant portrait of Washington is that painted at Mount Vernon in 1772, which is the earliest portrait of Washington we have and depicts him as a Colonel of the Virginia Militia. He became a collector of various articles, conceived the idea of forming a museum, and actively promoted the measures which resulted in the erection of the building of the Pennsylvania Academy of the Fine Arts. Muchofwhat we know of the repre sentative people in Pennsylvania of that day is due to his art. Dunlap thus sums up his trades, employments and profes sions, as follows: — "He was a sadler; harness-maker; clock and watch-maker; silver-smith; painter in oil, crayons and miniature; modeler in clay, wax and plaster; he sawed his own ivory for his min iatures, moulded the glasses, and made the shagreen cases; he was a soldier; a legislator; a lecturer; a preserver of animals, — ^whose deficiencies he supplied by means of glass eyes and artificial limbs; he was a dentist — and he was, as his biographer truly says, 'a mild, benevolent, and good man'."^' The name of BENJAMIN WEST (1738-1820) should receive note, not alone because he was the first and only Amer ican to become President of the British Royal Academy, but because he was the kindly friend and instructor of the many Americans who went to England to study in the period 1765 to 1820. Among others, Pratt, Trumbull, C. W. Peale, Stuart, Malbone, Dunlap, Allston, Sully, Morse and Leslie sought and '"Arts of Design," Vol. I, page 140. XV FOREWORD received his instruction and help. West was born at Spring field, Pennsylvania, and died in London. Tuckerman says of him : "Rarely is so long a life marked by so much serene prosperity; in the long retrospect he cou'd trace the dawn of art in the New World by his familiar experience; for, during his residence in London, he was the resource and oracle of his countrymen engaged in the same pursuit. "2* West, as a boy of sixteen, painted portraits while receiving his education in Philadelphia, and at eighteen he had estab lished himself as a portrait painter and is said to have received two and one-half guineas for a head and five for a full length portrait. At twenty-one he sailed for Gibraltar and after a tour on the Continent went to England in 1763. The classic revival which was spreading over Europe greatly influenced West and he began his long career as an historical painter shortly after his arrival in London. His most widely known pictures, in this country at least, are "Christ Healing the Sick," "Christ Rejected," "Death on the Pale Horse" (the latter now in the Pennsylvania Academy of the Fine Arts), and " Penn's Treaty with the Indians" and "The Death of General Wolf," familiar through engraving. "The Death of General Wolf" has been declared "to have created an era in English art by the successful example it initiated of the abandonment of classic costume — a reform advocated by Reynolds. "^^ He painted in England a succession of portraits from Roman and Greek history, and one of his early canvases, the " Departure of Regulus" — a commission from the King — established his ^•' " Book of the Artists," page 98. ^="Book of the Artists," page igg. XVl FOREWORD reputation, and during his long life he literally poured forth large canvases on historical, mythological and biblical sub jects, said to exceed 3,000 in number. Upon the death of Sir Joshua Reynolds he was chosen President of the Royal Academy in 1792. No example of his purely classical work is available for this Exhibition, but of his portraiture an example will be found in No. 132, representing Dr. Enoch Edwards, an American friend, painted while Dr. Edwards was in London. We also show West's unfinished study, No. 133, for a projected historical picture of the Commissioners who signed the Treaty of Peace between Great Britain and her revolting colonies (November 30, 1782). West finished the portraits of the American Commissioners, Benjamin Franklin, John Adams, John Jay and Henry Laurens, and the Secretary, William Temple Franklin, from the waist up and sketched in the figures, and it was evidently his intention to include in the blank space to the right, the English Commissioner Richard Oswald and the Secretary Caleb Whitefoord, and possibly Alleyne Fitzherbert who signed the armistice two months later declaring a cession of hostilities. The picture is stated to have been sold among West's effects after his death and pur chased bythe family of Edward Strutt, M. P. (Lord Belper)'^ It has only lately come to this country and has never before been publicly exhibited here. The success of West influenced JOHN TRUMBULL (1756- 1843) to become the first historical painter of the young Republic. Trumbull, the son of Jonathan Trumbull the Colonial Governor of Connecticut, was a graduate of Harvard, joined the Continental Army and retired in 1777 owing to some disagreement over his commission. The usually accepted 2' "Centennial of the Inauguration of Washington," by Clarence W. Bowen, pages 481-2. xvii FOREWORD Story that much of the spirit displayed in his picture "The Battle of Bunker's Hill" arose from the fact that he took part in that engagement, must give way before historical accuracy which records that he only "saw the smoke of the action from Roxbury, four miles away."" He went to London to study in 1780, and shortly after his arrival was arrested as a spy — a reprisal for the hanging of Major Andre — and it was due to West's influence with George III that his release, after seven months, was obtained on bail, with West and Copley as sureties, upon condition that he immediately leave England. After peace was signed he continued his studies as a member of West's household, and it is undoubtedly due in large measure to this sojourn and his acquaintance with Copley and his work, which confirmed him in his desire to be an historical painter, so that, upon his return to America in 1789 he was so filled with this idea that he spent several years making studies of the heads of the important actors in the War of the Revolution for a projected group of historical paintings to delineate our history. At least two of his historical works "The Battle of Bunker's HiU" and "The Death of Montgomery" were painted and the studies for two more sketched in 1786 while under the instruction and influence of West, and it is upon the work of this period, ending with 1794, that his reputation largely rests. He was again in New York for three or four years, from 1804 on, then again established himself as a portrait painter in London, and there is little doubt but that he intended to make England his permanent abiding place. Whether a decline in his powers with the consequent loss of employment determined him to return to America or, what is more probable, he learned of the projected rebuilding of the Capitol at Washington, '"John Trumbull and His Works," John F. Weir, N. A., page 20. xviii FOREWORD burned by the British during the War of 1812, and saw his opportunity; in any event, he came to this country and exhibited in Washington his two small pictures of "The Battle of Bunker's HiU" and "The Death of Montgomery," together with his collection of studies and miniature heads for others, and applied for the commission to paint the eight large can vases dealing with our history to adorn the rotunda of the Capitol. The choice of subjects was left to President Madison and he was commissioned to paint the "Declaration of Inde pendence," "The Surrender of Burgoyne," "The Surrender of CornwaUis" and "The Resignation of Washington at Anna polis." "The Battle of Bunker's HiU" and "The Death of Montgomery," by far his best conceptions, were rejected as representing the triumph of our enemies. Trumbull enlarged "The Declaration" first, which he exhibited with great success, receiving several thousand dollars from the entrance money alone. Some criticism of its historical value was heard and the artist and his product came in for the biting sarcasm of John Randolph, who somewhat unfairly dubbed it "The Shin Piece," a name which it has ever after borne, but on the whole the work received the approbation of the public. "The Sur render of Burgoyne" was finished second, and exhibited with less success, and finally, in 1824, when he exhibited his last picture "The Resignation of Washington," it was said that the returns did not pay room rent. In later life Trumbull fell into evil times; he besought Congress in vain to permit him to paint the remaining panels for the rotunda, and importuned the President with a plan for the permanent encouragement of the fine arts in the United States, under which he proposed that "whenever an event, political, naval, or military, shall occur, which shall be regarded by the government as of sufficient xix FOREWORD importance to be recorded as matter of history, the most eminent painter of the time, be ordered to paint a picture of the same, to be placed in some of the national buildings — that an artist of secondary talent be employed to make a copy of the same which shall be given to the minister, admiral, or general under whose direction or command the event shall have taken place, as a testimony of the approbation and gratitude of the nation. "2* We have no doubt in our minds whom Trumbull considered then "the most eminent painter of the time," but who was the artist of " secondary talent " we are uninformed. When finally an indifferent Congress refused to purchase his original histori cal compositions, together with other sketches and portraits, Yale College paid him a small life pension in exchange for the collection. Thus the work of his early and brilliant years, by far the most important collection of his work, obtained a permanent abode. The officials of Yale University found that the deed of gift from Trumbull forbade the loan of any of this collection to this Exhibition. An example of his historical painting may be seen in one of the replicas of the "Sortie from Gibraltar" No. 121, appended to which is the key in Trumbull's handwriting. The portrait of Governor Clinton, loaned by The City of New York, No. 1 16, was painted in 1791, and Dunlap says that it is "the best large-sized picture he ever painted. "29 The background of this picture represents the British troops storming Fort Montgomery, where Gover nor Clinton was in command of the American troops. The work of GILBERT STUART (1755-1828) which, taken as a whole, entitles him to be considered the foremost American ''"Dunlap, Arts of Design," Vol. 1, pages 384-385. ""Arts of Design," Vol. I, page 362. XX FOREWORD painter produced during the period covered, is so well known that little reference to him need be made. So many of our early statesmen, financiers and the belles of the period live in his glowing canvases and panels that his work stands almost as a synonym for American portraiture. Stuart was born in Rhode Island, the son of Gilbert Stuart, a Scotchman, and Elizabeth Anthony, the daughter of an Englishman then living in Newport. The usual stories of a young painter's precocity are told of him, and he is said to have received a commission at the age of thirteen, to paint the portraits of Mr. and Mrs. John Bannister of Newport, which are now in the Redwood Library. He studied under Cosmo Alexander and accompanied him to England in 1772 and was forced to return to America by reason of the death of his patron. After a short stay, which was largely employed in painting portraits in Rhode Island, he continued his studies in England in 1775, and like so many American painters of his time, came under the influence and instruction of West. For a period of upwards of fifteen years he successfully practiced his art in England and Ireland, but returned to this country in 1793 to spend the remainder of his life. It is said that he came here imbued with the desire to paint the portrait of Washington, which was accomplished in 1795, and it is not an exaggeration to say that the so-called Athenaeum portrait of Washington which came from Stuart's brush has preserved his likeness in the minds of miUions of his countrymen. He painted in PhUadelphia and Washington for a period of eleven years and then established himself in Boston, where he resided untU his death. It is his portraits painted during the period ending about 1815 upon which his reputation is mainly based. It is a subject of regret that Stuart did not keep a register of his xxi FOREWORD sitters, like Sully, and that he signed few if any of his portraits, but his own remark that he signed his name all over the canvas can be said of his work with perhaps more truth than of the work of any other painter. How quick he was to gauge the character of his sitter, and what AUston called his marvelous "power of distinguishing the individual from the conven tional," strikes one at the first glance at his portraits. There is no sameness, no likeness of one portrait to another, such as frequently appears in the work of Sully's later years. West's remark to one of his pupUs has been often quoted : " It is of no use to steal Stuart's colors; if you want to paint as he does you must steal his eyes."^" Tuckerman sums up his power by saying no one "caught with more truth, or delineated with more power, the expression and character of the physiognomy and the temperament" of the sitter. This Exhibition is particularly rich in examples from his brush. The portrait No. 99 of Captain Richard Pearson, and No. 90 of Colonel Isaac Barre may be compared with the Madison, No. 96, McKean, No. 97, Colonel Smith, No. 100, and Mr. and Mrs. Law, Nos. 94, 95, to note the differences of style between his English and American periods. Ill The third group is the work of painters ending with 1850. As the most important we show a number of examples of THOMAS SULLY from his best period which,, terminating about 1835, brought the golden age of American portrait paint ing to an end. Note WiUiam Chamberlain, No. 105, Joseph A. Dougan, No. 108, John Hogg, No. 1 10, and Theodore Gourdin No. 109, as examples. Here and there a portrait of importance '" Mason's Life of Stuart, page 38. xxii FOREWORD by another artist of the period may be found. We show examples by Sully's brUliant pupU Eichholtz, Nos. 25, 26, 27, of Jarvis, Nos. 44, 45, 46, 47, 48, Morse's exquisite portrait of his daughter known as "The Muse," No. 56, Neagle's portrait of Sargeant Wallace, No. 58, the Vanderlyn portrait of Sampson WUder, No. 123, as works of merit, and occasionally examples by Waldo, Harding, Inman, Elliott and Huntington may rise above the mediocre, but except in rare instances they do not approach in interest or importance the works of the masters Copley, Stuart and Sully. THOMAS SULLY (1783-1872) though born in England came to this country a boy of nine and resided here through eighty years. With the exception of one year spent under the instruction of West — 1809-10 — he received his education here and his reputation rests upon his American work. Through his long life of eighty-nine years he was to see American art reach its zenith and decline into the era of the story-telling picture of the Diisseldorf School, walnut furniture and other Victorian abominations. Born in the closing year of the Revolution he was to live almost to see the Centennial Exposi tion of 1876 which was to awaken again the artistic sense of this country; he was to live to see portraiture decline untU most were content with the Silhouette or Daguerreotype with which to transmit their likenesses to posterity; he was to see the fashion of the day require as art "The Ideal Head," as exemplified in the "Gift Books" from 1830 to i860, and occasionally even Sully bowed to the popular demand. No. 107, while engraved as a fancy picture under the title "The Country Girl" and "Maidenhood," is in reality a portrait of Elizabeth Cook, a friend of one of Sully's daughters. Living through most of the "dark ages" — 183 5-1 880 — Sully XXlll FOREWORD successfully avoided immortalizing on huge canvases the tousled head, the bulging shirt front, the baggy trousers, the clumsy desks and the waste paper baskets so dear to the painters of that period. A kindly critic has recorded his regret that the "brush had not fallen from the hand in its fullness of power rather than in its final struggle,"^! but though SuUy practiced his profession untU within a year of his death, and admitting that portraits done in his latter years lack virility, stiU they shine by com parison with those of most of his English or American con temporaries. John Hill Morgan, January i, 1917. The Committee desires to express its appreciation to the various owners who have so generously loaned many important and valuable examples of our early painters.. It feels that its thanks must be publicly tendered to Mr. Herbert Lee Pratt whose generous offer of the whole or any part of his coUection — an offer made at the inception of the plan and which insured an exhibition of importance — immeasurably lightened its labors. It also desires to acknowledge its ap preciation of the kindly interest of Mr. Thomas B. Clarke, Mr. John F. Lewis and Mr. Lawrence Park, and for the assistance and valuable advice of Mr. Charles Henry Hart and Mr. WiUiam Macbeth. Regarding the attributions as set forth in the catalogue, the Committee desires to state that it has made dUigent effort to obtain authentic information. The pictures shown have "Charles Henry Hart, "Thomas Sully's Register of Portraits,'' page 17. xxiv FOREWORD reliable pedigrees; many have been exhibited before and are referred to in the lives or lists of works of the artists. In a few cases — perhaps four or five — the evidence is not complete and the attribution is upon the responsibility of the owner and not of the Committee. Regarding the pictures loaned by Mr. Pratt, some of the material has been excerpted from notes made for Mr. Pratt's catalogue by Mr. Charles Henry Hart. It is hoped that this Exhibition may help to identify and record many important examples of our early painters and stimulate interest in art of purely American character. xxv EARLY AMERICAN PAINTINGS EZRA AMES Late eighteenth and early nineteenth century. Ezra Ames was "a coach painter of Albany who turned his attention to portraiture and gained distinction in 1812 by exhibiting his likeness of Governor George Clinton at the Pennsylvania Academy; during several years he executed portraits of the western members of the legislature, and these, with other specimens of his imitative skUl, are widely scattered in New York State." Tuckerman — Book of the Artists, page 68. 1 GOVERNOR GEORGE CLINTON (173 9-1 8 12). Born -*¦ at Little Britain, New York, the son of Charles Clinton (1690-1773). In 1775 he was a member of the second Con tinental Congress, and m December of the same year, was appointed brigadier-general of militia; later he held the same rank in the Continental Army. Governor of New York from 1777 to 1795 and from 1801 to 1804. Fourth vice-president of the United States, 1805. Trumbull's portrait of Governor Clinton is No. 116 of this exhibition. On canvas: H. 30 inches; W. 24 inches. Lent by the Misses White. I GOVERNOR GEORGE CLINTON BY EZRA AMES MRS. JAMES KING BY EZRA AMES EARLY AMERICAN PAINTINGS EZRA AMES CONTINUED rs PORTRAIT OF MRS. JAMES KING (1800-1823). Daughter of WiUiam James, a prominent merchant of Albany. Her husband, James King, was a lawyer. This portrait was painted a short time before her death, and is still in the possession of a descendant. On canvas: H. 30 inches; W. 24 inches. Lent by Mrs. Franklin Bartlett. 2 EARLY AMERICAN PAINTINGS JOSEPH BADGER 1 708-1765 The son of Stephen and Mercy (Kettell) Badger, was born in Charlestown, Massachusetts. He married in 173 1 and died in Boston. (For further information concerning this artist, see Foreword, page vi.) 2 CAPTAIN JOHN LARRABEE. The New England Regis- o-' ter has a reference to the marriage of Sarah Larrabee, daughter of Capt. John Larrabee, stationed in Castle WiUiam, Boston Harbor, in 1738. Again in a list of subscribers to a certain publication is the name of Capt. John Larrabee, Lieutenant of Castle William. On canvas: H. 83)^ inches; W. 51 inches. Lent by Mr. M. L. Goodwin. 3 CAPTAIN JOHN LARRABEE BY' JOSEPH BADGER PRESIDENT WILLIAM HENRY HARRISON BY JAMES HENRY BEARD EARLY AMERICAN PAINTINGS JAMES HENRY BEARD (1814-1893) Born in Buffalo, New York; died at Flushing, Long Island. He lived in Cincinnati during the earlier part of his life, at a time when he devoted himself almost exclusively to por trait-painting. He is known to have made portraits of Henry Clay and Presidents John Q. Adams, Taylor and Harrison. He came to New York in 1846 and was one of the originators and charter members of the Century Club. In his later years he devoted his time chiefly to animal painting. ^ . WILLIAM HENRY HARRISON (1773-1841). Born at Berkeley, Virginia, the son of Benjamin Harrison, a member of the Virginia House of Burgesses. A soldier during the earlier part of his life, he was a representative in Congress from 1816 to 1819; member of the Ohio Senate, 1819-1821; United States senator, 1825-1828. Elected ninth president of the United States, he was inaugurated the 4th of March, 184 1, and died a month afterwards, succeeded by the vice- president, John Tyler, whose portrait is No. 114 of this exhi bition. Other portraits of WUliam Henry Harrison are Nos. 50, 59 and 66. On canvas: H. 36 inches; W. 27 inches. Lent by Mrs. Benjamin Harrison 3a EARLY AMERICAN PAINTINGS THOMAS BIRCH 1779-1851 The son of William Birch, the enamel painter, was born in London, and was brought to America ca. 1793 by his father who settled in PhUadelphia. Taught by his father, he is said to have had such companions as John Wesley Jarvis, Samuel Seymour and also Thomas Sully. Dunlap writes of him: "Mr. Birch is a good landscape painter and a very fine painter of marines." A THE CONSTITUTION AND THE GUERRIERE. ' "The United States declared war against Great Britain, June 18, 1812. . . . Three weeks later, the "Constitution" under Captain Hull, sailed from Annapolis. Soon after leaving the Chesapeake she came upon a British squadron of one sixty- four and four frigates, and then ensued the famous three days' chase, in the course of which, by a marvel of good seamanship and good discipline, the American frigate escaped. After a short respite in Boston, Hull set out again, and on the 19th of August he fought and captured the Guerriere, Captain Dacres, in an engagement lasting about an hour." Larned's "History for Ready Reference" pp. 3343-3344. On canvas: H. 283/^ inches; W. 36 inches. Collection of Joseph Harrison of Philadelphia. Lent by Mr. Herbert Lee Pratt. 4 .>•«••: u < S o KH P3 Wcr!W2(A« OwKHO^ inches; W. 363^! inches. Lent by Mr. William E. Verplanck. 45 EARLY AMERICAN PAINTINGS JOHN WESLEY JARVIS CONTINUED j_x COLONEL WILLIAM CROGHAN. "William Croghan ' ^ was born in Ireland and it is not known when he came to America. He served during the Revolution as a senior major of the Virginia Line, fought in the battles of Brandy- wine, Monmouth and Germantown andwas made prisoner at Charleston. He was a member of Steuben's staff and was present when the Order of the Cincinnati was founded at the Verplanck Homestead in 1783 and wears its decoration. After the Revolution he settled at Locust Grove, Kentucky. This portrait is stUl in the possession of a descendant. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Christopher B. Wyatt. 46 COLONEL WILLIAM CROGHAN BY JOHN WESLEY JARVIS LUCY CLARK CROGHAN BY JOHN WESLEY JARVIS EARLY AMERICAN PAINTINGS JOHN WESLEY JARVIS CONTINUED A'-j LUCY CLARK CROGHAN. Lucy Clark, the wife of ' ' Colonel WUliam Croghan, was "the daughter of John Clark and the sister of George Rogers Clark of western fame. Her son. Major George Croghan, was the hero of Sandusky." This portrait is still in the possession of a descendant. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Christopher B. Wyatt. 47 EARLY AMERICAN PAINTINGS JOHN WESLEY JARVIS CONTINUED j_o PETER AUGUSTUS JAY (1776-1843). Peter Augus- *^ tus Jay, the eldest son of Chief Justice John Jay, was born and died in New York. He was a distinguished lawyer, secretary to his father when ambassador to England, member of tbe New York Assembly; made doctor of laws by Har vard; settled the boundary between New York and New Jersey; recorder in 1820; president of New York Hospital and New York Historical Society. This portrait was painted about 1806 for Mr. Jay when he was about thirty years old, and about the time of his marriage to the daughter of General Matthew Clarkson. It became the property of his grand-daughter, Miss Julia Jay Pierrepont, by inheritance. On canvas: H. 30^4 inches; W. 253/2 inches. Lent by Miss Pierrepont. PETER AUGUSTUS JAY BY JOHN WESLEY JARVIS PORTRAIT OF A LADY BY CHARLES ROBERT LESLIE EARLY AMERICAN PAINTINGS CHARLES ROBERT LESLIE I 794-1 859 Born in England of American parents, he was taken to America in 1799. In 1811 he returned to England and studied at the Royal Academy under Benjamin West and Washington AU ston. He remained in England most of his life. AQ PORTRAIT OF A LADY. The costume of this portrait * -^ is of the period of Leslie's visit to this country, 1833-34, and doubtless it was painted here at that time. It is beauti fully treated and rich in color. The face resembles not a little the portraits of Lydia Huntley Sigourney (1791-1865), the Connecticut authoress. (From notes supplied by Charles Henry Hart.) On canvas: H. 35^ inches; W. 26 inches. Lent by Mr. Herbert Lee Pratt. 49 EARLY AMERICAN PAINTINGS EDWARD D. MARCHANT 1 806-1 887 Born at Edgartown, Massachusetts, he painted portraits in PhUadelphia for many years; he died at Asbury Park, New Jersey. Dunlap writes of Marchant as follows: "This gentle man has exhibited several portraits of superior merit in the gallery of the National Academy, and one or two groups entitling him to praise in composition." C(\ WILLIAM HENRY HARRISON (1773-1841). Born *^^ at Berkeley, Virginia, the son of Benjamin Harrison, a member of the Virginia House of Burgesses. A soldier during the earlier part of his life, he was a representative in Congress from 1816 to 1819; member of the Ohio Senate, 1819-1821; United States senator, 1825-1828. Elected ninth president of the United States, he was inaugurated the 4th of March, 1841, and died a month afterwards. Other portraits of W. H. Harrison are Nos. 59 and 66 of this exhibition. On canvas: H. 30 inches; W. 25 inches. Signed: E. D. Marchant, 1838. Besides this portrait of W, H. Harrison and Nos, 59 and 66, No. 3a is another of the same .subject painted by James Henry Beard. Lent by Mr. John Frederick Lewis. 50 *."' PRESIDENT WILLIAM HENRY HARRISON BY EDWARD D. MARCHANT PRESIDENT JOHN ADAMS BY SAMUEL FINLEY BREEZE MORSE EARLY AMERICAN PAINTINGS SAMUEL FINLEY BREEZE MORSE 1791-1872 Inventor, figure and portrait painter, and sculptor. Born in Charlestown, Massachusetts, died in New York City. Grad uated in 1810 from Yale; became a pupU of Washington Allston, whom he accompanied the foUowing year to London, where he studied also under West. Returned to America in 181 5 and painted portraits in Boston, Concord and also Charleston, South Carolina. Settled in New York in 1823, where in 1826, he became one of the original founders of the National Academy of Design, and its first president, serving from 1827 to 1845 and again 1 861-1862. Among his most important paintings is the full length portrait of La Fayette in the New York City Hall, and the large picture, the old " House of Representatives by Candle Light," now in the Corcoran Gallery of Art in Washington. His model of a "Dying Hercules," made to assist him in painting a picture of this subject which was exhibited in 1813 at the Royal Academy, was awarded a gold medal the same year at the Adelphi Society of Arts. In 1839 he gave up art as a profession to devote the rest of his life to the perfection of his invention of the telegraph. C-1 JOHN ADAMS (1735-1826). Born in Quincy, Massa- ^-l chusetts; graduated from Harvard, 1755; admitted to the bar, 1758; member of the Continental Congress 1774- 1778; minister to the Court of St. James's, 1785; first vice- president of the United States, 1789-1797; second president of the United States, 1797-1801. (See his portrait by William Winstanley, No. 134 of this exhibition.) On canvas: H. 30 inches; W. 25 inches. Painted in 1816 for George Delaplaine. Lent by the Misses White. SI EARLY AMERICAN PAINTINGS SAMUEL FINLEY BREEZE MORSE CONTINUED r^ MOSS KENT. Judge Moss Kent was the brother of *^^ Chancellor Kent of New York. Painted in Albany in August, 1823. See " Life of S. F. B. Morse," by Edward Morse, Vol. I, Pages 246-247. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Frank W. Bayley. 52 MOSS KENT BY SAMUEL FINLEY BREEZE MORSE MARQUIS DE LA FAYETTE BY SAMUEL FINLEY BREEZE MORSE EARLY AMERICAN PAINTINGS SAMUEL FINLEY BREEZE MORSE CONTINUED C:y MARQUIS DE LA FAYETTE. This portrait of "^•^ Marie Joseph Paul Yves Roch Gilbert du Motier, Mar quis de La Fayette, French officer, the companion of Wash ington, was painted ca. 1824 during La Fayette's last visit to America as the "Nation's Guest." It is said to be the original study for the larger portrait now hanging in the New York City Hall. Dunlap in his biography of the artist speaks of the "full-length of La Fayette" which occupied his time for some months in New York (1825). Tuckerman states that he had "received a public commission to paint a portrait of La Fayette then on a visit to this country." On canvas: H. 48 inches; W. 333^ inches. The property of the Brooklyn Museum. 53 EARLY AMERICAN PAINTINGS SAMUEL FINLEY BREEZE MORSE CONTINUED C-j_ STEPHEN MIX MITCHELL, LL.D. (1743-1835). ^ ' Stephen Mix Mitchell, LL.D. of Wethersfield, Con necticut, lawyer, delegate to Continental Congress, judge of Hartford County court, judge of Superior and Supreme Courts of Connecticut, United States senator. On canvas: H. 30 inches; W. 25 inches. Lent by the Connecticut Historical Society. 54 STEPHEN MIX MITCHELL BY SAMUEL FINLEY BREEZE MORSE HANNAH MITCHELL BY SAMUEL FINLEY BREEZE MORSE EARLY AMERICAN PAINTINGS SAMUEL FINLEY BREEZE MORSE CONTINUED C-r HANNAH MITCHELL (Mrs. S. M. Mitchell). Daugb- "^*^ ter of Donald and Arminel Grant and wife of Stephen Mix Mitchell. Painted at the artist's home in New York City about 1 825-1 827. On canvas: H. 30 inches; W. 24% inches. Lent by the Connecticut Historical Society. 55 EARLY AMERICAN PAINTINGS SAMUEL FINLEY BREEZE MORSE CONTINUED r/^ SUSAN WALKER MORSE, known as "THE ^^ MUSE." Susan Walker Morse, a daughter of the artist, was about seventeen years old when this portrait was painted in his studio in the old University Building, Wash ington Square, New York. She married Edward Lind, a planter of Porto Rico, but did not take the portrait with her and it hung for many years in the home of Professor Morse, 5 West 22nd Street. Mrs. Lind died in 1885 and the portrait passed into the possession of her niece, Susan Lind Morse (Mrs. George K. Perry) by gift from her aunt. Mrs. Perry died in 1910 and bequeathed tbe portrait to her husband from whom it was purchased. It has been exhibited in the Metro politan Museum. Painted ca. 1835. On canvas: H. 733^ inches; W. 573/2 inches. Lent by Mr. Herbert Lee Pratt. 56 SUSAN WALKER MORSE, "tHE MUSE," BY SAMUEL FINLEY BREEZE MORSE LEVI DICKSON BY JOHN NEAGLE EARLY AMERICAN PAINTINGS JOHN NEAGLE 1799-1865 "The son-in-law of Sully, was born in Boston while his parents, who were PhUadelphians were on a visit to that city," relates Tuckerman in his "Book of the Artists." He was principally self-taught and after painting in Lexington, Kentucky, and New Orleans, he returned to Philadelphia, where he remained most of his life. He ranks among the prominent painters of his time. A biography written by Thomas Fitzgerald a short time after the artist's death can be found in Lippincott's Magazine, Vol. I, pages 477-491, 1868. ^^ LEVI DICKSON. Dickson was Neagle's cousin. The "^ ' portrait was acquired by the present owner from Garrett Neagle, the artist's son. Painted in 1834. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. John Frederick Lewis. 57 EARLY AMERICAN PAINTINGS JOHN NEAGLE CONTINUED j-n SERGEANT ANDREW WALLACE (1730- 1835). "^^ Andrew Wallace was born in Inverness, Scotland, and died in New York. He came to America in 1752 and entered the Revolutionary army, AprU 1776, in Chester County, Pennsylvania; later was a sergeant under Anthony Wayne which rank he held to the end of the war. It is said that he had his hands badly frost-bitten crossing the Delaware with Washington, and for that reason he was forced to wear gloves during the remainder of his life. Thomas Fitzgerald in Neagle's biography (Lippincott's Magazine, Vol. I) states that this portrait was painted in Sergeant Wallace's loist year.On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Herbert Lee Pratt. 58 SERGEANT ANDREW WALLACE BY JOHN NEAGLE PRESIDENT WILLIAM HENRY HARRISON BY BASS OTIS EARLY AMERICAN PAINTINGS BASS OTIS I 784-1861 Born in New England, he was established in New York as a portrait painter about 1808. He removed to Philadelphia a short time afterwards as he exhibited portraits at the Academy in 18 12. Dunlay describes Km as "a portrait painter of strong natural talents and of good perception of character." C-Q WILLIAM HENRY HARRISON (1773-1841). Born •^^ at Berkeley, Virginia, the son of Benjamin Harrison, a member of the Virginia House of Burgesses. A soldier during the earlier part of his life, he was a representative in Congress from 1 8 16 to 18 19; member of the Ohio Senate, 1819-1821; United States senator, 1825-1828. Elected ninth president of the United States, he was inaugurated the 4th of March, 1841, and died a month afterwards, succeeded by the vice- president, John Tyler, whose portrait is No. 114 of this exhi bition.Other portraits of William Henry Harrison are Nos. 3a, 50 and 56 of this exhibition. On canvas: H. 30 inches; W. 25 inches. Correction, page 59, line 4. For Dunlay read Dunlap. Lent by Mr. Alexanaer smitn \„ochran. 59 EARLY AMERICAN PAINTINGS CHARLES WILLSON PEALE 1741-1827 Portrait painter. Born in Chestertown, Md.; died in PhUa delphia, Pennsylvania. He studied for a short time under Copley and went to England in 1768 and studied under Benjamin West. After his return in 1770 he executed many portraits in Annapolis and Baltimore and was invited to Mount Vernon in 1772, where he painted the earliest known portrait of Washington. Established a museum of natural history in Philadelphia, 1784, the first museum in this country; one of the founders of the Pennsylvania Academy of the Fine Arts in 1805. See Foreword pages xiv-xv. /^r\ CAPTAIN ROBERT ALLEN (1761-1821). In his t)U uniform as captain of Company B, Ninth Pennsylvania Regiment, State Troops, in the Whiskey Insurrection of 1794. The portrait was painted about 1795. Captain Allen is reputed to have been the son of the Young Pretender, Chevalier Charles Edward Stuart, son of James III of Scotland. He was born in France; came to America in 1792 and died in PhUa delphia. He was commissioned an ensign in the English Army in 1774; reached the rank of captain about 1785; married in Aston Church, Birmingham, England, in 1786, Mary Martha Farthing, a daughter of a vicar of the Church of England. He sold out his commission in the English Army and went to Ireland, thence moving to Philadelphia in 1792. Captain Allen served with Wayne, with the Pennsylvania troops, against the Indians. He is buried in St. Peter's Church Yard, PhUadelphia. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. John Frederick Lewis. 60 CAPTAIN ROBERT ALLEN BY CHARLES WILLSON PEALE MRS. G. BELL BY CHARLES WILLSON PEALE EARLY AMERICAN PAINTINGS CHARLES WILLSON PEALE CONTINUED X 1 MRS. G. BELL. Mrs. G. BeU was grandmother of the ^ -*- artist and great-grandmother of Miss Odenheimer in whose collection this portrait was found. On canvas: H. 30 inches; W. 24^ inches. Lent by Mr. Albert Rosenthal. 61 EARLY AMERICAN PAINTINGS CHARLES WILLSON PEALE CONTINUED /-^ COLONEL TENCH TILGHMAN (1744-1786). Born ^^ at Fansley, near Easton, Maryland, eldest son of James Tilghman (1716-1793). In 1775 he left his business in PhUadelphia to take part in the war for liberty, and from August 1776 was secretary and aide-de-camp to Washington, who said of him in 1781: "He has been in every action in which the main army was con cerned, and has been a faithful assistant to me for nearly 5 years, a great part of which time he refused to receive pay." He attained the rank of lieutenant-colonel, carried the news of Cornwallis's surrender from Yorktown to Philadelphia in four days (October, 178 1), and received from Congress thanks, a sword and a horse. In 1784 he established a branch of the house of Robert Morris at Baltimore, and died there. This portrait was purchased by the present owner from a Mrs. Skinner, a descendant of the Tilghmans of Eastern, Mary land, the home of the Tilghmans. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Albert Rosenthal. 62 COLONEL TENCH TILGHMAN BY CHARLES WILLSON PEALE GEORGE WASHINGTON BY CHARLES WILLSON PEALE EARLY AMERICAN PAINTINGS CHARLES WILLSON PEALE CONTINUED /-^^ GEORGE WASHINGTON. This portrait of Wash- ^•^ ington shows the left side of the face and was painted in the State House at Philadelphia contemporaneously with the Stuart which depicts the right side. What has always been considered the original from life of this type, because of its being in the Peale Museum collection, is now owned by the New York Historical Society — a bequest of T. B. Bryan of PhUadelphia, who purchased it at the Museum sale in 1854. Charles Henry Hart points out that the picture now exhibited differs from that owned by the Historical Society in its unusual freedom and in its having a curtain draping in the background, a detail not in any other example of this type, and also that the twilled canvas accounts for many of its good qualities. What appears to be a dimple in the cheek bears witness in reality to the fact that Washington at the time of the sitting was recovering from an abscess at the root of one of his teeth. Painted ca. 1795. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Herbert Lee Pratt. 63 EARLY AMERICAN PAINTINGS CHARLES WILLSON PEALE CONTINUED XJ_ GEORGE WASHINGTON. This portrait is believed ^ ' to have been painted for the Spanish minister and sent to the United States consul at Madrid — a Mr. Carmichael. For further matter on portraits of Washington see Foreword pages X and xi. On canvas: H. 95 inches; W. 61 inches. Signed : C. W. Peale, 1781. Lent by Mr. Thomas E. Kirby. 64 GEORGE WASHINGTON BY CHARLES WILLSON PEALE JAMES HAMILTON BY JAMES PEALE EARLY AMERICAN PAINTINGS JAMES PEALE 1749-183 1 Born in Annapolis, Maryland. He was a brother of Charles Willson Peale who had taught him the art of painting. He painted portraits, landscapes, but especially miniatures. A full-length portrait of Washington in the New York Historical Society and one in the Independence Hall of Philadelphia are the work of this aitist. He died in PhUadelphia. /-^ JAMES HAMILTON (1750-1833). Major of the ^"^ Second Pennsylvania Line in the Continental Army, 1778 and father of the Nullification Governor of South Carolina. President of the South Carolina State Society of Cincinnati. Panel, oval: H. 22^ inches; W. 193/2 inches. Lent by Mr. Alexander Smith Cochran. 65 EARLY AMERICAN PAINTINGS REMBRANDT PEALE I 778-1 860 Portrait and figure painter, and lithographer. Born in Bucks County, Pennsylvania, died in Philadelphia. Second son of Charles Willson Peale. Studied with his father and in 1795, at the age of seventeen years, had three sittings from Wash ington; his composite portrait of Washington, painted in 1824, was bought by Congress in 1832 for two thousand doUars, and is in the Senate Chamber at Washington. He studied with West in London in 1801, and later made several visits to Paris and London. He was one of the original members of the National Academy of Design and a director of the Pennsylvania Academy of the Fine Arts, 1811-13. /-x WILLIAM HENRY HARRISON (1773-1841). Born ^^ at Berkeley, Virginia, the son of Benjamin Harrison, a member of the Virginia House of Burgesses. A soldier during the earlier part of his life, he was a representative in Congress from 1816 to 1819; member of the Ohio Senate, 1819-1821; United States senator, 1825-1828. Elected ninth president of the United States, he was inaugurated the 4th of March, 1 841, and died a month afterwards, succeeded by the vice- president, John Tyler, whose portrait is No. 114 of this exhibi tion. Other portraits of William Henry Harrison are Nos. 3a, 50 and 59. Painted ca. 1814. On canvas: H. 28^ inches; W. 233^ inches. Lent by Mr. Herbert Lee Pratt. 66 PRESIDENT WILLIAM HENRY HARRISON BY REMBRANDT PEALE WILLIAM HILL BY REMBRANDT PEALE EARLY AMERICAN PAINTINGS REMBRANDT PEALE CONTINUED /;n WILLIAM HILL (1792-1827). WiUiam HiU was born ^' and died in PhUadelphia, the son of John Hill and Letitia HamiU. He married Anne Mason in May, 18 12. He was a prominent merchant. This portrait and that of his wife were painted about 18 18. This portrait is still in the pos session of a descendant. On canvas: H. 24 inches; W. 20 inches. Lent by Mrs. James L. Morgan. 67 EARLY AMERICAN PAINTINGS REMBRANDT PEALE CONTINUED /-o MRS. WILLIAM HILL (1793-1826). Anne Mason ^^ was born in Cincinnati, Ohio, the daughter of Joseph Mason and Sarah Manlove. Her brother was Dr. Joseph R. Mason, the ornithologist, who travelled with Audubon, and painted scientific studies of birds. This portrait is stUl in the possession of a descendant. On canvas: H. 24 inches; W. 20 inches. Lent by Mrs. James L. Morgan. 68 MRS. WILLIAM HILL BY REMBRANDT PEALE CHIEF JUSTICE JOHN MARSHALL BY REMBRANDT PEALE EARLY AMERICAN PAINTINGS REMBRANDT PEALE CONTINUED /-Q CHIEF JUSTICE JOHN MARSHALL (1755-1835). ^¦^ Born in Virginia, the son of Thomas Marshall (1732- 1806) and his wife Mary Isham Keith. Captain in the Con tinental Army during the War of Independence, he resigned his commission in 1781 and was admitted to the bar shortly afterwards; secretary of state under President Adams, 1800- 1801 ; chief justice of the Supreme Court of the United States 1 801 until his death. Author of a biography of George Washington (5 volumes 1 804-1 807 and 2 volumes 1832). This portrait was painted in Washington not long before the death of the Chief Justice. It was purchased from the artist by the Hon. James Humphrey, of Brooklyn, and upon his death in 1866 was presented to the Long Island Historical Society. On canvas: H. 30 inches; W. 25 inches. Lent by the Long Island Historical Society. 69 EARLY AMERICAN PAINTINGS REMBRANDT PEALE CONTINUED 70 GEORGE TAYLOR of Philadelphia. On canvas: H. 573^ inches; W. 36 inches. Collection of Eliza Herriman Griffith. The property of the Brooklyn Museum. 70 GEORGE TAYLOR BY REMBRANDT PEALE GEORGE WASHINGTON BY REMBRANDT PEALE EARLY AMERICAN PAINTINGS REMBRANDT PEAl E CONTINUED -y-j GEORGE WASHINGTON. Painted in 1795. Rem- ' -*- brandt Peale tells us that for this portrait Washington gave him three sittings of three hours each, and when finished, the canvas, wet from the easel, was packed up and taken to Charleston, South Carolina, where he painted ten replicas of it, "which were valued as the most recent likeness." The canvas exhibited was painted for the distinguished General Christopher Gadsden of South Carolina, from whom it descended to his grandson Christopher Gadsden Morris and from him to his niece Miss Hume, who married Frederick Wentworth Ford, the parents of the present owner. The family mansion in Charleston where it hung was destroyed by fire in 1861 and this portrait of Washington with one of General Gadsden that hung opposite to it, were the only items of importance saved. (From notes supplied by Mr. Charles Henry Hart.) On canvas: H. 29 inches; W. 24^ inches. Lent by Mr. Charles Henry Hart, Attorney for Mrs. Lewis S. Jervey. 71 EARLY AMERICAN PAINTINGS REMBRANDT PEALE CONTINUED -y^ GEORGE WASHINGTON. (Port-hole type). "This ' ^ is the type commonly known as "Rembrandt Peale's Washington" and of it the artist painted seventy-nine copies. It being a made-up head it cannot be accepted as a reliable portrait of the "Father of his Country," but it is decorative and attractive as a picture. (From notes supplied by Charles Henry Hart.) On canvas: H. 36 inches; W. 29 inches. Signed : Rembrandt Peale. Lent by Mr. Herbert Lee Pratt. 72 GEORGE WASHINGTON fpoKi-iioLE -ivpe) BY REMBRANDT PEALE GENERAL HORATIO GATES BY ROBERT EDGE PINE EARLY AMERICAN PAINTINGS ROBERT EDGE PINE I73c^i788 Born in England, came to America in 1783 and was in PhUa delphia in 1784. Portrait and historical painter; he is known to have made a portrait of Washington at Mount Vernon in 1785. Washington AUston wrote of this artist: "In the coloring of figures, the pictures of Pine, in the Columbian Museum in Boston, were my first masters." -^ ^ GENERAL HORATIO GATES (1728-1806). A noted ' *-^ American general, born in England. He was educated for the army, and came to America when about twenty-seven years of age, with the British general, Braddock, at whose defeat he was badly wounded. At the close of the war he settled in Virginia; but when the Revolutionary War began, he joined Washington. He received the surrender of Burgoyne at Saratoga, October 17, 1777. In 1780 he lost the battle of Camden and was succeeded by General Greene. He died in New York. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Alexander Smith Cochran. 73 EARLY AMERICAN PAINTINGS ROBERT EDGE PINE CONTINUED -HA GENERAL HENRY LEE (General "Lighthorse" ' ' Harry Lee) (i 756-181 8). Henry Lee, soldier and governor of Virginia, born in Westmoreland County, Virginia; educated at Princeton College, New Jersey; graduated in 1774. Joined army in 1777. His skill, his discipline and his manly and soldier-like bearing attracted notice of the commander-in- chief, and he was promoted to major, and given command of a separate cavalry corps, which included three companies, and was known as "Lee's Legion." From this command he received the name of "Lighthorse Harry." Received gold medal for daring and successful attempt to surprise and capture British garrison at Paulus Hook. Married his cousin Matilda Lee, and resided at her home, Stratford House. Chosen to pronounce funeral oration on Washington, and there said " First in war, first in peace, and first in the hearts of his countrymen." He was the father of Robert E. Lee. This portrait was exhibited at the Panama-Pacific Exposition. On canvas: H. 24 inches; W. 19 inches. Lent by Mr. John Frederick Lewis. 74 GENERAL HENRY LEE BY ROBERT EDGE PINE GEORGE WASHINGTON BY ROBERT EDGE PINE EARLY AMERICAN PAINTINGS ROBERT EDGE PINE CONTINUED ^r GEORGE WASHINGTON. This portrait is particu- ' "^ larly interesting as showing a type not familiar to the general public. Pine painted at least four portraits of Wash ington. From entries in Washington's diary we know that Pine spent about three weeks at Mount Vernon, the first entry being as follows: "1785. AprU 28th, Thursday. — To dinner Mr. Pine, a pretty eminent Portrait & Historical Painter arrived in order to take my picture from the life & to place it in the Historical pieces he was about to draw." This portrait was purchased in Montreal in 18 17 by Henry Brevoort, descended to bis son J. Carson Brevoort of Brooklyn, and is still in the possession of his descendants. Taken from Foreword, page xiii. On canvas: H. 35^ inches; W. 2834 inches. Lent by Mr. Grenville Kane. 75 EARLY AMERICAN PAINTINGS ROBERT EDGE PINE CONTINUED -y /- MARY BALL WASHINGTON (1706 or 1708-1789). ' ^ Daughter of Joseph Ball, of Epping Forest, Virginia, and wife of Augustine Washington, whom she married in 1730. Mother of George Washington, who was born February 22, 1732. On canvas: H. 213/2 inches; W. 18 inches. Lent by Mr. W. Lanier Washington. 76 MARY BALL WASHINGTON BY ROBERT EDGE PINE MRS. PETER DE LANCEY BY MATTHEW PRATT EARLY AMERICAN PAINTINGS MATTHEW PRATT 1734-180S Born in PhUadelphia, the son of a goldsmith, he was appren ticed at fifteen to his uncle, James Claypool, a "limner and painter in general." He went to England in 1764, where he remained for four years. In 1770, he went again to England and Ireland, but only for a very short time, and returned to Philadelphia, never to leave it again. He is said to have painted the earliest portrait of Benjamin Franklin. He is the author of a number of portraits and miniatures, and of "many signs for public houses, of high character, well colored and well composed," all of which have disappeared. -yy MRS. PETER DE LANCEY (1719-1784). Elizabeth ' ' Colden, daughter of Lieutenant-Governor Cadwallader Colden, married in 1737 or 1738, Peter De Lancey (1705- 1770), a man of great wealth and influence in New York who sat in the Assembly for eighteen consecutive years. They had twelve children, seven sons and five daughters, from whom there are many descendants. (From notes supplied by Charles Henry Hart.) Painted ca. 1772. On canvas, oval: H. 29^ inches; W. 25 inches. Lent by Mr. Herbert Lee Pratt. 77 EARLY AMERICAN PAINTINGS CHARLES BALTHAZAR JULIEN FEVRETdeST. MEMIN 1770-1852 Born in Dijon, France; died there. Went to Canada in 1793, and soon afterward to New York. Saint Memin introduced into this country a machine by means of which the human profile could be copied with mathematical accuracy. His life- size profiles, on pink paper, finished in black crayon, were mechanically reduced and engraved within a circle two inches in diameter. By this means he took in this country more than eight hundred portraits, and is therefore generally included among American artists. He reserved a few proofs of each, and a complete set, with the name of each subject, is at the Corcoran Gallery, Washington, District of Columbia. In 18 17 he was appointed director of the museum at Dijon, where he remained until his death. 78 JAMES CAMPBELL. On paper: H. 21 inches; W. 153^ inches. Lent by Mr. Herbert Lee Pratt. -HQ THEODORE GOURDIN. ' y Another portrait by Sully is No. 109 of this exhibition. On paper: H. 2i}/2 inches; W. 15^ inches. Lent by Mr. John Hill Morgan. 80 SETH HASTINGS (1762-183 1). On paper: H. 2234 inches; W. 17 inches. Lent by Mr. Herbert Lee Pratt. Q 2 A PhUadelphia Gentleman. On paper: H. 22 inches; W. 153?^ inches. Lent by Mr. R. T. H. Halsey. 78 ^^ ;^i^*^ JAMES CAMPBELL THEODORE 'GOURDIN SETH HASTINGS A PHILADELPHIA GENTLEMAN BY CHARLES BALTHAZAR JULIEN FEVRET DE SAINT MEMIN GENERAL HENRY KNOX BY EDWARD SAVAGE EARLY AMERICAN PAINTINGS EDWARD SAVAGE 1761-1817 Born in Princeton, Massachusetts, and died there. 'There is good evidence that he was originally a goldsmith, but he must have abandoned this occupation early in life as we find him at twenty-eight years of age equipped with a letter to General Washington, in New York, requesting him to sit for his portrait, which portrait is now at Harvard University. The portrait, begun in December 1789, was finished, according to Washington's diary, the following month. . . . He went to London in 1791 and later to Italy. . . . He was back in America in 1794. He practiced his profession of portrait painter and engraver in Boston, PhUadelphia and New York. He also painted miniatures." F. W. Bayley's "Little Known Early American Portrait Painters." o/p GENERAL HENRY KNOX (1750-1806). Born in O^ Boston. Through study and conversation with Boston officers who frequented his book-store, he became proficient in mUitary theory and practice; he had to flee from Boston in disguise on account of his American patriotism. His wife carried his sword, quilted into the lining of her coat. He entered recruiting service; reported conditions at Bunker Hill; corresponded with John Adams concerning plan for reorgan ization of the army; was appointed colonel of one artillery regiment; was one of Washington's right hand men. He founded the Society of the Cincinnati, the purpose of which was to perpetuate friendships among officers. On canvas: H. 27^ inches; W. 24 inches. Lent by Mr. Alexander Smith Cochran. 79 EARLY AMERICAN PAINTINGS JAMES SHARPLES 1751-181 I Born in England; died in New York City. He studied art with George Romney, and decided to adopt painting as his profession. In 1794 he came with his family to America. He travelled with horse and wagon from town to town, paint ing small portraits, chiefly in pastel. There are over a hun dred of these pastel portraits in Independence Hall, PhUa delphia. He spelled his name Sharpless in England, but dropped the last letter when he came to this country. 0:5 DR. ELIHU SMITH of New York, son of Dr. Reuben Ou Smith. Painted ca. 1795-1797, at Litchfield, Con necticut. Pastel: H. 10 inches; W. 8 inches. Lent by Mr. Walter H. Crittenden. OA DR. REUBEN SMITH of Litchfield, Connecticut, O I father of Dr. Elihu Smith. Painted ca. 1795-1797, at Litchfield, Connecticut. Pastel: H. 10 inches; W. 8 inches. Lent by Mr. Walter H. Crittenden. oq CHARLOTTE TABB (Mrs. Lemuel Nicholson). 00 Painted in 1800. Pastel: H. 8 inches; W. 10 inches. Lent by Mr. John HiU Morgan. O /; EMORY TABB (Mrs. Thomas Parramore). 00 Painted in 1800. Pastel: H. 8 inches; W. 10 inches. Lent by Mr. John Hill Morgan. 07 GEORGE WASHINGTON (profile). O' Pastel: H. 10 inches; W. 7^ inches. From the collection of Lord Belper. Lent by Mr. John Pierpont Morgan. 00 GEORGE WASHINGTON (full face). 00 Pastel: H. 9 inches; W. 7 inches. Lent by Mr. Herbert Lee Pratt. 80 EMORY TABB GEORGE WASHINGTON DR. ELIHU SMITH CHARLOTTE TABB GEORGE WASHINGTON DR. REUBEN SMITH BY JAMES SHARPLES ALEXANDER GARDEN BY JOHN SMIBERT EARLY AMERICAN PAINTINGS JOHN SMIBERT 1688-1751 Also spelled Smybert. He was born in Edinburgh, Scotland; died in Boston, Massachusetts. Served his time with a house painter and in London worked for coach painters; studied for a time in Sir James Thornhill's Academy in London, then spent three years in Italy. On his return to London he renewed his acquaintance with Dean Berkeley (afterwards Bishop) and was engaged by him as professor of fine arts for the projected college at Bermuda. Accompanied the Dean to America and landed at Newport in January, 1729; went to Boston and established himself as a portrait painter. OQ ALEXANDER GARDEN. This gentleman, a rector ^¦^ and author, was born in 1685 and died in 1756. On canvas: H. 29 inches; W. 24 inches. Lent by Mr. Thomas B. Clarke. 81 EARLY AMERICAN PAINTINGS GILBERT STUART 1755-1828 Born in Narragansett, Rhode Island; died in Boston. Re ceived some instruction from Cosmo Alexander, a Scotch portrait painter, who visited America, and whom Stuart accompanied to Scotland in 1772, returning to America after his master's death. In 1775 he went to England and was employed as assistant by Benjamin West; later set up his own studio and was a successful portrait painter in London and Dublin. Returning to America in 1792, he worked in New York City, Philadelphia and Washington, and finally settled in Boston. Among his best portraits are those of Washington — one known as the "Athenaeum" (unfinished) in the Boston Museum of Fine Arts, and the "Gibbs-Chan- ning- Avery" portrait at the Metropolitan Museum of Art. Mason's "Life and Works of Gilbert Stuart" mentions more than six hundred portraits by this artist. Qr\ COLONEL ISAAC BARRE (1726-1802). Colonel yy^ Barr' was born in Dublin. He was the son of a French refugee, and entered the British army and fought with Wolfe at Quebec, where he was wounded in the cheek. Barre is represented in the group around Wolfe in Benjamin West's celebrated picture "The Taking of Quebec." He was very popular in America for having opposed the taxation of the American Colonies in 1765. In 1766 he was made treasurer of Ireland. The towns of Barre, Vermont, and Barre, Massa chusetts, were named after him, and that of Wilkesbarre in conjunction with Wilkes. On canvas: H. 36 inches; W. 2834 inches. The property of the Brooklyn Museum. 82 COLONEL ISAAC BARRE BY GILBERT STUART CAPTAIN JOHN CHESTNUT BY GILBERT STUART EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED Qt CAPTAIN JOHN CHESTNUT (1743-1813). John ^ ^ Chestnut was born in the Valley of Virginia. He was brought to South Carolina by his mother and step-father (Jasper Sutton) when he was thirteen years old. At the out break of the Revolution he became attached to the Third South Carolina Regiment and served as paymaster with the rank of captain. He later obtained command in the militia and served during the Georgia campaign. He was taken prisoner on the evacuation of Charleston in 1780, and paroled to his plantation at Knight's HUl. Refusing the demand of Lord Rawdon to take up arms against his countrymen in August 1780, he was thrown in prison and chained to the floor, and bore to his grave the marks of the irons upon his ankles. In 1788 he was a member of the Convention to frame the Constitution. In 1793-1796 he was member of the state Senate and a trustee of the South Carolina College. He married in the year 1770 Sarah Cantey, daughter of Captain John Cantey. On canvas: H. 29 inches; W. 233^ inches. Collection of Davis Rogerson Williams, great-great-grandson of Captain Chestnut. Lent by Mr. Herbert Lee Pratt. 83 EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED Q^ LADY FRANCES ERSKINE (1781-1843). Frances ¦^^ Cadwalader, the daughter of General John Cadwalader, was born in PhUadelphia. At eighteen she married her kins man, David Montague Erskine, later second Baron Erskine, who was secretary to the British legation at Washington. On canvas: H. 29 inches; W. 24 inches. Lent by Mr. Herbert Lee Pratt. 84 LADY FRANCES ERSKINE BY GILBERT STUART GENERAL PETER GANSEVOORT BY GILBERT STUART EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED Q^ GENERAL PETER GANSEVOORT (1749-1812). ¦^ *^ Peter Gansevoort, Jr., was born in Albany. A zealous patriot, he was made major of the second New York regiment in 1775, and joined General Montgomery's expedition against Quebec. In 1777 he defended Fort Stanwix for twenty days against the British and Indians under St. Leger and thus pre vented the reinforcement of Burgoyne at Saratoga. For this he received the thanks of Congress. He was made brigadier- general in the regular army in 1809. He was a regent of the University of the State of New York; commissioner of Indian Affairs; commissioner for fortifying the frontier and mUitary agent for the War Department. He wears the deco ration of the Order of the Cincinnati. This portrait is owned by his granddaughter. On canvas: H. 30 inches; W. 25 inches. Lent by Mrs. Abraham Lansing. 85 EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED QA HON. THOMAS B. LAW (1756-1834). Thomas Law '^ ' was the son of Rt. Rev. Edmund Law, Lord Bishop of Carlisle, and younger brother of Lord EUenborough, Lord Chief Justice of the King's Bench. His early life was spent in official position in India, and he came to this country in the summer of 1794 and settled in the Federal City, as Washington was then called, where he died. Painted ca. 1800. On canvas: H. 29 inches; W. 24 inches. Lent by Mr. Herbert Lee Pratt. 86 THOMAS B. LAW BY GILBERT STUART MRS. THOMAS B. LAW BY GILBERT STUART EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED QC- MRS. THOMAS B. LAW (1776-1832). Eliza Parke ¦^ Custis Law was a granddaughter of Mrs. Washington and married, when she was twenty, Thomas Law. Painted ca. 1795. On canvas: H. 29 inches; W. 24 inches. Lent by Mr. Herbert Lee Pratt. 87 EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED QX JAMES MADISON (1751-1836). Born in Virginia, ¦^^ the son of James Madison. Graduated from the College of New Jersey (now Princeton University) in 1771; delegate to the new Virginia Convention, 1776; delegate to the Con tinental Congress, 1 779-1 783; member of the House of Representatives, 1789. Fourth president of the United States, 1809; re-elected, 18 13, defeating De Witt Clinton, whose portrait is No. 45 of this exhibition. Inman's portrait of Madison is No. 41 of this exhibition. Stuart painted at least two sets of the first five presidents of the United States. The set of which this portrait was one, was painted for John Doggett, a picture dealer and frame maker of Boston. He sold the five portraits to Abel Phillips and they hung for some time in the Congressional Library in Washington. The portraits of Washington, Adams and Jefferson were destroyed by fire in 185 1, but the Madison and Monroe were saved and became the property of the late A. A. Low of Brooklyn. On canvas: H. 40 inches; W. 32 inches. Lent by Mr. Herbert Lee Pratt. 88 fy^ 1'^ PRESIDENT JAMES MADISON BY GILBERT STUART JUDGE THOMAS MCKEAN BY GILBERT STUART EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED Q-j JUDGE THOMAS McKEAN (1734-1817). Thomas ¦^ ' McKean was a man of much distinction and held in high esteem by his contemporaries. A signer of the Declara tion of Independence, president of the Continental Congress, and chief justice and governor of Pennsylvania. He wears the decoration of the Order of the Cincinnati. This is the earliest portrait known by Stuart painted on wood. (From notes supplied by Charles Henry Hart.) Painted ca. 1802. Panel: H. 29 inches; W. 23^^ inches. Engraved by David Edwin. Lent by Mr. Herbert Lee Pratt. 89 EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED QO SAMUEL MYERS (1755-1836). Samuel Myers, the ¦^ ^ son of Myer Myers, a banker and the foremost New York silversmith of his day, was born in New York City. Because of the activities of the elder Myers the family were forced to flee to Connecticut upon the occupation of New York by the British. Samuel Myers went to Holland where he resided for several years, and shortly after the Revolution moved to Richmond, Virginia, and established a banking house. In 1796 he married Judith Hays of Boston. The portrait, painted in 1810, is noted as No. 429 in the Boston Museum of Fine Arts Catalogue of the Stuart Exhi bition published in 1880, and is owned by his great-grand daughter. A replica, or copy possibly by Jane Stuart, is owned in Boston. Panel: H. 30 inches; W. 24 inches. Lent by Mrs. John Hill Morgan 90 SAMUEL MYERS BY GILBERT STUART CAPTAIN RICHARD PEARSON BY GILBERT STUART EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED QQ CAPTAIN RICHARD PEARSON, R. N. (1731-1806). ¦^ '^ Richard Pearson was the commander of the "Serapis" in her famous fight with John Paul Jones in the "Bon-homme- Richard," and for his defence of the ship the king bestowed upon him knighthood, which caused Jones to say when he heard of it that he hoped "some day he would cause bim to be made an Earl." (From notes supplied by Charles Henry Hart.) Painted ca. 1788. On canvas: H. 30 inches; W. 24^.4 inches. Lent by Mr. Herbert Lee Pratt. 91 EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED 1 on COLONEL WILLIAM STEPHENS SMITH (1754- ^^^ 18 16). William Stephens Smith was born in New York City; graduated from the College of New Jersey with the class of 1774. At the outbreak of the Revolution he ran away from home and enlisted as a private in the Continental Army. He served successively as major and aide-de-camp under General Sullivan in 1777, and of Spencer's regiment in 1779-81. He became aide-de-camp to General Washington and served also on La Fayette's staff. In 1784 Washington appointed him secretary of the Legation at the Court of St. James where he married Abigail, the daughter of John Adams. He was an "assistant" or a master of ceremony at Washington's inauguration in 1789. He superintended the evacuation of New York by the British, was made super intendent of Internal Revenue and later surveyor and in spector of the Port of New York. He was a member of Congress in the years 18 13-14. Reproduced in "History of the Centennial of the Inauguration of Washington," Clarence W. Bowen, page 41. Painted ca. 1794. On canvas: H. 30 inches; W. 25 inches. Collection of Dr. William Whitmore Gray, Bridgeport, Connecticut. Lent by Mr. Herbert Lee Pratt. 92 COLONEL WILLIAM STEPHENS SMITH BY GILBERT STUART GEORGE WASHINGTON (athenaeum type) BY GILBERT STUART EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED 1 rv^ GEORGE WASHINGTON (Athenaeum type). This ^-^ portrait was painted in Washington's lifetime as it belonged to J. Seb"" de Franga of Devonshire Place, London. The engraving made of this portrait by William Nutter was published by Robert Cribb in London, January 15, 1798. (Charles Henry Hart: Engraved Portraits of Washington, No. 428.) (Baker: 294.) On canvas: H. 29 inches; W. 24 inches. Lent by the Ehrich Galleries. 93 EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED -I r\>y GEORGE WASHINGTON (Vaughn type). This ^^^ canvas is called the "Hanson Washington" from having originally been owned by Alexander Contee Hanson, chancellor of Maryland, one of Washington's secretaries and aides. It is known as the Vaughn type, painted in 1795, from the name of the owner of the first portrait of Washington, showing the right side of the face, that was engraved. Of this type nine are known painted by Stuart, three of which, the one exhibited and two others, show some variations from the original. On canvas: H. 303/2 inches; W. 25 inches. Lent by Mr. Herbert Lee Pratt. 94 GEORGE WASHINGTON (vaughn type) BY GILBERT STUART GEORGE WASHINGTON (l.ansdowne type) BY GILBERT STUART EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED i/-j^ GEORGE WASHINGTON. (Lansdowne type) Con- ^*~^ cerning the history of this portrait we quote the following from the recollections of Mrs. H. B. Pierrepont: ' "After our return from England in 1795, my father went to Philadelphia, and, at the request of his mother, engaged Gilbert Stuart to take his likeness for .his family. , Gilbert Stuart was, at the time of my father's visit (1796) painting a full length portrait of Washington for Mr. Bingham, who presented it to the Marquis of Lansdowne. My father was so much pleased with it that he engaged Stuart to paint one for him at the same time, as the General was giving him sittings. Stuart, who was well acquainted with my father, promised both pictures should be worked upon alternatively, so that both should be originals." This portrait hung in the old Constable home, which stood on the present site of the Astor House, untU 1803. In 18 12, Mr. H. B. Pierrepont purchased it from his brother-in- law and it has ever since hung in the Pierrepont Mansion on Pierrepont Place, Brooklyn. The above is taken from the Foreword, page xii. On canvas: H. 963^ inches; W. 6o34 inches. Lent by Mr. Robert Low Pierrepont. 95 EARLY AMERICAN PAINTINGS GILBERT STUART CONTINUED 1 04 ^^^- J^^^ WATTS, Sr. (1715-1789). John -l-v/T Watts, Sr., son of Counselor Robert Watts and Mary, daughter of William NicoUs, was born in New York City. In July 1742 he married Ann, daughter of Stephen De Lancey and sister of Lieutenant-Governor James De Lancey. He represented New York City in the Assembly for many years, and was a member of the King's Council from 1757- 1775. He was one of the original founders and trustees of the Society Library in 1754, and presented its first clock to the New York Exchange in 1760. He assisted in organizing the New York City Hospital. Because of his British sympa thies he was obliged to flee to England in 1775, at the out break of the war, never returning to this country. His large estate was declared confiscated, but at the end of the war it was partly repurchased and reconveyed on July i, 1784, to his sons, Robert and John. One of his daughters, Ann, married Captain Archibald Kennedy, of the Royal Navy, who became eleventh Earl of Cassilis. Their son, the twelfth Earl, was born in this country. This portrait has been in the possession of the family until recently. The sitter left it to his eldest son Robert Watts, who bequeathed it to his son Ridley Watts. The latter left it to his son Robert Watts, whose son. Dr. Robert Watts, was the last owner. On canvas: H. 30 inches; W. 25 inches. The property of the Brooklyn Muse^um. 96 JOHN WATTS, SR., BY GILBERT STUART CAPTAIN WILLIAM CHAMBERLAIN BY THOMAS SULLY EARLY AMERICAN PAINTINGS THOMAS SULLY 1783-1872 Thomas SuUy was born at Horncastle, Lincolnshire, England, and died in PhUadelphia, Pennsylvania. At nine years of age he was taken by his parents to America. Studied in Charleston, South Carolina; in 1799 joined his brother Lawrence, a miniature painter, in Richmond, Virginia; was in New York City 1806-8; spent a short time in Boston study ing with GUbert Stuart; went to Europe, studying under West and painted a portrait of Queen Victoria which belongs to the St. George's Society of Philadelphia. In 1838 settled in Philadelphia where he painted portraits of La Fayette, Jefferson, and others; many famous actors sat for him, among them George Frederick Cooke and Fanny Kemble. 1 /^r CAPTAIN WILLIAM CHAMBERLAIN. Captain 1\J«J Chamberlain was a PhUadelphian. The portrait descended to WUliam Chamberlain's son Charles Chamberlain, and through him to his son Charles Chamberlain, Jr. Noted in Charles Henry Hart's "Sully's Register of Portraits" as No. 287. It was painted in 18 10. On canvas: H. 313^ inches; W. 26 inches. Lent by Mr. Herbert Lee Pratt. 97 EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED 1 rx/- MRS. WILLIAM CHAMBERLAIN was before her X \Jyj marriage Miss Cornelia Mitchell, a Virginian. Noted in Charles Henry Hart's " Sully's Register of Portraits " as No. 288. It was painted in 1810. On canvas: H. 31^ inches; W. 26 inches. Lent by Mr. Herbert Lee Pratt. 98 MRS. WILLIAM CHAMBERLAIN BY THOMAS SULLY ELIZABETH COOK BY THOMAS SULLY EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED 1 i-i-y ELIZABETH COOK (Mrs. Benjamin Franklin ^^ ' Bache). Shortly after the first quarter of the nine teenth century, tbe popular taste of the day demanded ideal heads, and this picture, while painted as a fancy head, is in fact the portrait of Elizabeth Cook, a friend of Sully's daugh ters. She later became the wife of Dr. Benjamin Franklin Bache, a grandson of Benjamin Franklin, and the portrait was in the possession of the famUy until 191 1. It was engraved by John Cheney, as the frontispiece for "The Gift" for 1842, under the name of "The Country Girl," and in Griswold's "Poets and Poetry of America," 1843, p. 301, under the title "Maidenhood." See "Catalogue of the Engraved and Lithographed Work of John Cheney and Seth Wells Cheney" by S. R. Koehler, Boston, 1891, pages 59 and 60. On canvas: H. 30 inches; W. 24^ inches. Signed : TS 18 sq. Lent by Mr. John Hill Morgan. 99 EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED 1 C\^ JOSEPH A. DOUGAN (sometimes spelled Dugan). Iv/O fjg ^gg 2 merchant of Philadelphia and president Pennsylvania Academy of the Fine Arts, 1842-1845. Noted in Charles Henry Hart's "Sully's Register of Portraits," No. 453. It was painted in 18 10. On canvas: H. 36 inches; W. 29 inches. Lent by Mr. Herbert Lee Pratt. 100 JOSEPH A. DOUGAN BY THOMAS SULLY THEODORE GOURDIN BY THOMAS SULLY EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED 1 00 THEODORE GOURDIN. He was a planter of Pine- ^^ ville. Parish of St. Stevens, South Carolina, and a member of Congress from the WUliamsburgh District from 1813 to 1815. He died in 1826. Noted in Charles Henry Hart's "Sully's Register of Portraits," No. 637. It was painted in 18 15. St. Memin's crayon portrait of Theodore Gourdin is No. 79 of this exhibition. On canvas: H. 29 inches; W. 243^ inches. Lent by Mr. Herbert Lee Pratt. loi EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED 1 1 n JOHN HOGG (1770-1813). This portrait is entered -^ -*-^ in Sully's Register (No. 769), under the year 1807, "Mr. Hogg, formerly of the theatre." John Hogg made his debut in a musical play and was a dead failure. Subsequently he made his mark in the line of honest, bluff, blunt old country men, and in other comic parts, but he left the stage and opened a public house where he was commonly known as "Honest Old Hogg." He died in New York, February 14, 1813, at the age of forty-three. On canvas: H. 263/^ inches; W. 22 inches. From the collection of Mrs. Benjamin Thaw. Lent by Mr. Jonathan Bulkley. 102 JOHN HOGG BY THOMAS SULLY WILLIAM HENRY KORN BY THOMAS SULLY EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED -I 1 -I LIEUTENANT WILLIAM HENRY KORN (1814- -'--*¦-'- 1842). William Henry Korn, son of Henry Korn, of PhUadelphia, was a cadet at the United States Military Academy, West Point, from September i, 1835, to July i, 1839, when he was graduated and appointed second lieutenant First Infantry. He joined his regiment in Florida, in January, 1840, during the Seminole War. Ill health forced his resigna tion and he died shortly after leaving the army. Henry Korn was a personal friend of the artist. This portrait is still in the possession of the family. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. William Henry Fox. 103 EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED ^ 1 /^ HANNAH SEAGRAVES REEVES (Mrs. Wm. -*-¦*- ^ Pinckney Craig, of Philadelphia). Her second hus band was Judge Randolph, of Tallahassee, Florida. Painted ca. 1825-30 at Philadelphia. This portrait is stiU in the possession of a descendant. On canvas: H. 36 inches; W. 28 inches. Lent by Mrs. Allen McLane Hamilton. 104 HANNAH SEAGRAVES REEVES BY THOMAS SULLY THE SPANISH MANTILLA BY THOMAS SULLY EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED ^ 1 ^ THE SPANISH MANTILLA. An "Ideal Head" -'¦-'¦ "-^ one of those referred to in the Foreword. This picture was painted by Sully on order and purchased by Dr. Charles D. Meigs of PhUadelphia from the original owner. On canvas: H. 363^ inches; W. 28 inches. Signed : TS 1840. Lent by Miss Sarah Throckmorton Meigs. EARLY AMERICAN PAINTINGS THOMAS SULLY CONTINUED 11:? JANE COOPER SULLY (1807- 1877). She was the ±1«J<1 daughter of the artist and is known to have also painted portraits. She married in 1833 William Henry Westray Darley, the brother of Felix O. C. Darley, the well known illustrator, and her son is Francis Thomas Sully Darley, the organist. On canvas: H. 35^ inches; W. 29 inches. Signed: TS 1838. Lent by Mr. Luke Vincent Lockwood. 106 JANE COOPER SULLY BY THOMAS SULLY PRESIDENT JOHN TYLER BY THOMAS WILCOCKS SULLY, JR. EARLY AMERICAN PAINTINGS THOMAS WILCOCKS SULLY, JR. 1811-1847 " (The son of the celebrated artist) now exhibits for the first time with the artists of Philadelphia, and is painting at Norfolk (1834)." The preceding is a note in Dunlap. He was born in Philadelphia. He was an excellent artist and painted a number of portraits, some of which were lithographed by Newsam. 1 1 j_ JOHN TYLER (1790-1862). Born in Virginia, the -*¦-*¦' son of John Tyler (1747-1813) once governor of that state. Graduated from the College of William and Mary, Williamsburg, 1807. Admitted to the bar, 1809. Member of the House of Representatives, 1816-1821; United States senator, 1827, succeeding John Randolph. Elected vice-presi dent of the United States in 1841. He became president upon the death of William Henry Harrison (whose portraits are Nos. 3a, 50, 59 and 66 of this exhibition). In the introduction to "Sully's Register of Portraits," by Charles Henry Hart, page 13, the following reference is made to this portrait: "A portrait that he" (Thomas Sully, Jr.) "painted of John Tyler, with the White House in the back ground, is an excellent, virile piece of work." On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Herbert Lee Pratt. 107 EARLY AMERICAN PAINTINGS JOHN TRUMBULL 1756-1843 Born in Connecticut; died in New York City. He was the son of Jonathan Trumbull, first Governor of Connecticut; aide-de-camp to Washington in 1775 during the War of Independence and retired from service in 1777 with the rank of colonel. In 1780 he was in London studying with Ben jamin West; in 1786 his first historical picture, the "Battle of Bunker's Hill " was painted. Four of his historical pictures dec orate the rotunda of the Capitol at Washington. Fifty-four of his paintings are in the Yale School of Fine Arts, New Haven, Connecticut. 1 I r WILLIAM BROWN (1779-1809 ( ?). William Brown -»- A «J ,^^g ^ merchant of Norwich, Connecticut. On canvas: H. 363^ inches; W. 28 inches. Lent by Mr. Herbert Lee Pratt. 108 WILLIAM BROWN BY JOHN TRUMBULL GOVERNOR GEORGE CLINTON BY JOHN TRUMBULL EARLY AMERICAN PAINTINGS JOHN TRUMBULL CONTINUED 1 1 z- GOVERNOR GEORGE CLINTON (1739-1812). -*•-*- ^ Born at Little Britain, New York, the son of Charles Clinton (1690-1773). In 1775 he was a member of the second Continental Congress, and in December of the same year was appointed brigadier-general of mUitia; later he held the same rank in the Continental Army. Governor of New York from 1777 to 1795 and from 1801 to 1804. Fourth vice-president of the United States, 1805. Ames' portrait of Governor Clinton is No. i of this exhibition. On canvas: H. 108 inches; W. 72 inches. Signed: /. Trumbull, 17QI. The property of the City of New York. 109 EARLY AMERICAN PAINTINGS JOHN TRUMBULL CONTINUED 1 1 n ALEXANDER HAMILTON (175 7-1 804). Born on the Island of Nevis, West Indies, and died in New York. A celebrated American statesman and author; settled in New York in 1772; attracted attention as a pam phleteer in the political agitation preceding the Revolution; entered the Continental service as an artillery captain; became member of Washington's staff. Some honorable posi tions held by him were: member of Continental Congress; Constitutional Convention; secretary of the Treasury; commander-in-chief of the Army (1799). He was mortally wounded by Aaron Burr in a duel at Weehawken, New Jersey, July II, 1804. On canvas: H. 36 inches; W. 28^ inches. Lent by Mr. Frederick W. Hinrichs. no ALEXANDER HAMILTON BY JOHN TRUMBULL RALPH KIRKLEY BY JOHN TRUMBULL EARLY AMERICAN PAINTINGS JOHN TRUMBULL CONTINUED 1 -I o RALPH KIRKLEY. Ralph Kirkley was the body ^ ^^ servant of Sir Joshua Reynolds. This picture was painted whUe Trumbull was studying under Benjamin West in London. David Trumbull Lanman, a great-nephew, either purchased this picture in the artist's lifetime or obtained it from his sister Miss Abbie Trumbull Lanman, who received practically all of Colonel Trumbull's personal effects at the time of his death. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. David H. Lanman. I II EARLY AMERICAN PAINTINGS JOHN TRUMBULL CONTINUED -i' -1 Q PETER LANMAN. Peter Lanman was a brother- -*-¦*- ^ in-law of the artist, and a resident of Norwich, Con necticut. This portrait is stUl in the possession of a descendant. Panel: H. 29 inches; W. 24 inches. Lent by Mrs. WilHam Lanman Bull. 112 PETER LANMAN BY JOHN TRUMBULL MRS. PETER LANMAN BY JOHN TRUMBULL EARLY AMERICAN PAINTINGS JOHN TRUMBULL CONTINUED 1 ^r\ MRS. PETER LANMAN. Mrs. Peter Lanman was ± Ld\J AbigaU Trumbull, daughter of Jonathan Trumbull, governor of Connecticut during the Revolutionary War. She was a sister of tbe artist, and resided at Norwich, Con necticut. This portrait is stUl in the possession of a descendant. Panel: H. 30 inches; W. 24 inches. Lent by Mrs.WilHam Lanman BuU. 113 EARLY AMERICAN PAINTINGS JOHN TRUMBULL CONTINUED 1/^t SORTIE FROM GIBRALTAR. Concerning this ^^^ painting, Charles Henry Hart writes: "Trumbull painted five different canvases of this picture, each one with some slight variation from the other. The one exhibited has a particular interest in being the one made for William Sharp the engraver. to make his large plate from and is accompanied with Trumbull's autograph key to the characters that was engraved to accompany the print. Trumbull in his Auto- biograph says of a small canvas 20 x 3.0 inches: "intended for the engraver." While that may have been the intention and it corresponds with the size of the plate, a comparison of the picture with the plate shows that the two differ. This picture, like Copley's "Death of Chatham," contains. so many figures and is so well known from Sharp's engraving and from the large painting in the Museum of Fine Arts, Boston, that to describe it seems wholly unnecessary." On canvas: H. 353/2 inches; W. 54 inches. Lent by Mr. Herbert Lee Pratt. 114 Cf»M llS.^tl^ SORTIE FROM GIBRALTAR BY JOHN TRUMBULL COLONEL MOSES THOMAS BY JOHN VANDERLYN EARLY AMERICAN PAINTINGS JOHN VANDERLYN 1755-1852 Born and died in Kingston, New York. He was a pupil of Stuart in New York City and later went to Paris where he studied from 1796 until 1801. He painted in Europe from 1803 to 18 15. In 1808 his painting "Marius among the Ruins of Carthage" was awarded a medal in Paris, and his "Landing of Columbus" is in the Rotunda of tbe Capitol in Washington. I ryry COLONEL MOSES THOMAS. Moses Thomas was -'¦"^ the editor of the Analectic Magazine. This portrait was painted in AprU, 18 19. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. John Frederick Lewis. 115 EARLY AMERICAN PAINTINGS JOHN VANDERLYN CONTINUED t .p^ SAMPSON V. S. WILDER. Mr. WUder was born -^^•^ in 1780 and was a merchant and banker in Boston and in Paris. He entertained La Fayette at his country house at Bolton, Massachusetts, in 1824. This portrait was painted in 1805 in Mr. Wilder's counting house, and won a medal at the Paris Salon of 1805; it is still in the possession of a descendant. On canvas: H. 363^ inches; W. 29 inches. Lent by Mr. Wilder H. Haines. 116 SAMPSON V. S. WILDER BY JOHN VANDERLYN MRS. SAMPSON V. S. WILDER BY SAMUEL L. WALDO EARLY AMERICAN PAINTINGS SAMUEL L. WALDO 1783-1861 Born in Windham, Connecticut. Studied painting in Hart ford. Material success at the beginning of his career per mitted him in 1806 to go to London and for three years he painted portraits in that city. He returned to the United States in 1809 and remained in New York until his death. He worked for a whilje in partnership with William Jewett. 1 ^A MRS. SAMPSON V. S. WILDER. Painted about -*-^~ 1840; wife of S. V. S. Wilder, the subject of Van- derlyn's painting in this catalogue; .grarid-daughter of Anna Pierce Barrell, whose. portraits by Copley are Nos. 11 and 12 of this exhibition. This portrait is still in the possession of a descendant. On canvas: H. 36 inches; W. 28 inches. Lent by Miss R. V. Halsey 117 EARLY AMERICAN PAINTINGS SAMUEL L. WALDO CONTINUED 1^^ WILLIAM STEELE (1762-1851). Born in New X ^•J York. Served in the American Revolution. In the spring of 1780 while bearing dispatches on the twenty gun ship "Aurora," which was captured by the British frigate "Iris," he was severely wounded during the battle. Was held as a prisoner between four and five months, when he was exchanged. Married Mary, daughter of Dr. Jonathan Dayton, December 26, 1791. His father, Stephen Steele, was a very active Whig in the Revolutionary War, and was obliged to abandon his home and a valuable property in New York when the city was taken possession of by the British forces. This portrait is still in the possession of a descendant. Panel: H. 30 inches; W. 243/2 inches. Lent by Mr. WilHam D. Steele. 118 WILLIAM STEELE BY SAMUEL L. WALDO MRS. WILLIAM STEELE BY SAMUEL L. WALDO EARLY AMERICAN PAINTINGS SAMUEL L. WALDO CONTINUED 1 /px MRS. WILLIAM STEELE. Mary, daughter of Dr. -*¦ ^^ Jonathan Dayton, married William Steele on Decem ber 26, 1791. She died March 26, 1834. This portrait and No. 125 were painted shortly before her death, and they are still in the possession of a descendant. Panel: H. 30 inches; W. 243/2 inches. Lent by Mr. William D. Steele. 119 EARLY AMERICAN PAINTINGS SAMUEL L. WALDO CONTINUED 1 97 JOSEPH MOSS WHITE (1741-1822). Painted ^^1 about 1 8 16. Joseph Moss White graduated from Yale in 1760. Farmer, town surveyor, state tax collector, delegate to Connecticut Convention to ratify United States Constitution in 1788, and member of Legislature, 1788-1794. This portrait is still in the possession of a descendant. On canvas: H. 30 inches; W. 25 inches. Lent by Mr. Alfred T. White. 120 JOSEPH MOSS WHITE BY SAMUEL L. WALDO AN UNKNOWN GENTLEMAN BY SAMUEL L. WALDO EARLY AMERICAN PAINTINGS SAMUEL L. WALDO CONTINUED 128 PORTRAIT OF AN UNKNOWN GENTLEMAN. On canvas: H. 3034 inches; W. 25 inches. From the collection of Mrs. Benjamin Thaw, 1916. The property of the Brooklyn Museum. 121 EARLY AMERICAN PAINTINGS ADOLF ULRIC WERTMULLER 1749-1812 Adolf Ulric Wertmuller was born in Stockholm, Sweden. He was appointed painter to the king in 1787 and came to America in 1794, settling in PhUadelphia. He painted a portrait of Washington from life, and, after executing many important commissions here, returned to Sweden in 1796. After some unsuccessful business ventures he again emigrated to Phila delphia, where he arrived in 1800. He married a Swedish lady here and settled at Marcus Hook, Pennsylvania, where he died. 1 90 ^N^^EW HAMILTON, IVth. The Hamilton ^^¦^ homestead, "Woodlands," was in the old Blockley Township of the County of PhUadelphia. The house was fiUed with portraits of the HamUton family, painted by British and American artists. Its first owner, Andrew Hamilton, was a prominent lawyer and member of the state Assembly. On canvas: H. 27 inches; W. 21 inches. Signed: A. Wertmuller, Philadelphia, 1810. Lent by Mr. John Frederick Lewis. 122 ANDREW HAMILTON, IVTH. BY ADOLF ULRIC WERTMULLER MRS. ANDREW HAMILTON BY ADOLF ULRICH WERTMULLER EARLY AMERICAN PAINTINGS ADOLPH ULRIC WERTMULLER CONTINUED t of\ MRS. HAMILTON. Eliza Johnson, wife of Andrew ^^^ Hamilton IVth, of "Woodlands." On canvas: H. 27 inches; W. 21 inches. Signed: A. Wertmuller, Philadelphia, 1810. Lent by Mr. John Frederick Lewis. 123 EARLY AMERICAN PAINTINGS ADOLF ULRIC WERTMULLER CONTINUED 131 PORTRAIT OF THE ARTIST. On canvas: H. 25 inches; W. 21 inches. Lent by Mr. John Frederick Lewis. 124 ADOLF ULRIC WERTMULLER BY HIMSELF DR. ENOCH EDWARDS BY BENJAMIN WEST EARLY AMERICAN PAINTINGS BENJAMIN WEST I 73 8-1 8 20 Portrait and history painter. Born in Springfield Township, Delaware County, Pennsylvania; died in London, England. After some instruction from a painter named WUliams, he went to Philadelphia as a portrait painter, thence to New York City; in 1760 to Italy; and in 1763 settled in London. In 1772 made historical painter to George III; West suc ceeded Sir Joshua Reynolds as president of the Royal Acad emy. In his studio many of the American artists of the day received their training. 1 op DR. ENOCH EDWARDS ' (1751-1802). Dr. Edwards was a son of Alexander Edwards and was born in Lower Dublin Township, Pa. He married in Christ Church, Philadelphia, 1779, Frances Gordon. He was a member of the Provincial Conference held in Carpenter's Hall, June 18, 1776. He served as a surgeon during the Revolutionary War, and was attending physician to General Washington. He was a delegate to the Pennsylvania Con vention on the adopting of the Constitution. Governor Mifflin appointed him in 1791 one of the associated or lay justices of the Court of Common Pleas, which office he held until his death in 1802. He was a warm friend of Benjamin West, who painted this portrait upon his second visit to England in 1795. See Letters, "Pennsylvania Magazine of History and Biography," January 1908, pages 23-25, and "Register of Jefferson's Correspondence" in the Library of Congress. On canvas: H. 36 inches; W. 27^ inches. Signed : B. West, 1795. Lent by Mr. Herbert Lee Pratt 12!; EARLY AMERICAN PAINTINGS BENJAMIN WEST CONTINUED I ^^ AMERICAN PEACE COMMISSIONERS (Treaty lOO of 1782). Extract from "Memoirs of John Quincy Adams," Vol. Ill, page 559, edited by Charles Francis Adams. (Lippincott — PhUadelphia — 1874). " 1817 — ^June 6th. Mr. West — spent the evening with us. He told me that he had in the year 1783 made a sketch for a picture of the peace which terminated the war of the American Revolu tion, which he would send me to look at the next morning, as he accordingly did. I then recollected having seen it before, at the time when my father was sitting to him for his likeness in it. The most striking likeness in the picture is that of Mr. Jay. Those of Dr. Franklin, and his grandson, W. T., who was Secretary to the American Commission, are also excellent. Mr. Laurens and my father, though less per fect resemblances, are yet very good. Mr. Oswald, the British Plenipotentiary, was an ugly looking man, blind of one eye, and he died without leaving any picture of him extant. This Mr. West alleged as the cause which prevented him from finishing the picture many years ago. Caleb Whitefoord, the Secretary of the British Commission, is also dead, but his portrait exists, from which a likeness may be taken. As I very strongly expressed regret that this picture should be left unfinished, Mr. West said he thought he could finish it, and I must not be surprised if some day or other it should be received at Washington." (For additional information see Foreword, page xvii.) On canvas: H. 283^ inches; W. 363^ inches. Collection of Lord Belper. Lent by Mr. John Pierpont Morgan. 126 JAY ADAMS FRANKLIN TEMPLE FRANKLIN LAURENS AMERICAN PEACE COMMISSIONERS, TREATY OF I782 BY BENJAMIN WEST PRESIDENT JOHN ADAMS BY WILLIAM WINSTANLEY EARLY AMERICAN PAINTINGS WILLIAM WINSTANLEY Little is known of this artist whom Dunlap represents as an Englishman of good family who came to America during the last decade of the eighteenth century. He is said to have made good copies of Stuart's portraits. 1 ZA JOHN ADAMS (1735-1826). Born in Quincy, Mas- -*-*^^ sachusetts; graduated from Harvard, 1755; admitted to the bar, 1758; member of the Continental Congress 1774-1778; minister to the Court of St. James's, 1785; first vice-president of the United States, 1789-1797; second president of the United States, 1797-1801. Painted from life in 1798. (See his portrait by S. F. B. Morse, No. 51, of this exhibition.) On canvas: H. 27 inches; W. 223^ inches. Lent by Mr. Alexander Smith Cochran. 127 EARLY AMERICAN PAINTINGS JOHN WOOLASTON The only matter available concerning the life of this artist seems to be the following, taken from Dunlap's: "A gentleman of this name painted portraits in Philadelphia in 1758, and in Maryland as early as 1759-1760. I know nothing more of him, but that Francis Hopkinson published verses in his praise in the American Magazine for September, 1758." He is known to have painted "the only portrait extant of Martha Washington in her early matronhood" and also of the grand mother of John Randolph of Roanoke. (See "Heirlooms in Miniatures by Anne HoUingsworth Wharton," Philadelphia, 1898.) 1 :^r UNKNOWN GENTLEMAN THOUGHT TO BE J- -^-^ LAWRENCE WASHINGTON. Half-brother of George Washington and son of Augustine Washington by his first marriage with Jane Butler. On canvas: H. 40 inches; W. 29 inches. Lent by Mr. John Frederick Lewis. 128 LAWRENCE WASHINGTON ( .?) BY JOHN WOOLASTON MAJOR JOHN DIES BY AN UNKNOWN ARTIST EARLY AMERICAN PAINTINGS UNKNOWN ARTIST 1 ^ /- MAJOR JOHN DIES. Married in Reformed Dutch ^^^ Church, New York, July 28, 1743. On canvas: H. 453/^ inches; W. 363/2 inches. Lent by Mr. De Witt A. Clarke. 129 EARLY AMERICAN PAINTINGS UNKNOWN ARTIST CONTINUED I ^-y MRS. JOHN DIES. Mrs. Dies was Jane, daughter -*- *-^ ' of Jacob Goelet. Of him we read that he was an official interpreter of the Dutch language. "He left an only daughter, Jane, who married John Dies, of CatskiU, where they buUt an elegant residence, which stood till recent years. She has many descendants among the Dubois and Van Loon famUies. She died March 5, 1799, aged seventy-six years. Her sons were the founders of Gilboa, in Schoharie County, New York. On canvas: H. 45 inches; W. 36 inches. Lent by Mr. De Witt A. Clarke. 130 MRS. JOHN DIES BY AN UNKNOWN ARTIST JOHANNES PANET BY AN UNKNOWN ARTIST EARLY AMERICAN PAINTINGS UNKNOWN ARTIST CONTINUED -j T O JOHANNES PANET. This gentleman was married 1«JC) jj^ jy^g ^Q Anna Maria Marshall, the subject of the following portrait. The waist-coat worn by Mr. Panet still exists, and is now at Woodbury, Connecticut. This portrait is still in the possession of a descendant. On canvas: H. 30 inches; W. 25 inches. Lent by the Misses Marshall. 131 EARLY AMERICAN PAINTINGS UNKNOWN ARTIST CONTINUED I :^Q ANNA MARIA PANET. Daughter of John Mar- -*-"^^ shall, she was born in 173 1 and married Johannes Panet in 1779. She died without issue. Her brother, John Rutgers Marshall was an Episcopal clergyman of Woodbury, Connecticut, where this portrait and the preceding remained for more than 120 years. This portrait is still in the posses sion of a descendant. On canvas: H. 30 inches; W. 25 inches. Lent by the Misses MarshaU. 132 ANNA MARIA PANET BY AN UNKNOWN ARTIST FRANCES PEYTON TABB BY AN UNKNOWN ARTIST ^ c> \V- V- EARLY AMERICAN PAINTINGS UNKNOWN ARTIST CONTINUED 1 40 P^^NCES PEYTON TABB (1753-1828). Frances ¦^ ^ Peyton, the daughter of Sir John Peyton, married John Tabb, of Amelia County, Virginia, in 1770. She was the mother of Martha Tabb, who married WiUiam B. GUes, member of the first Congress of the United States, and later United States senator and governor of Virginia. She was the aunt of Charlotte and Emory Tabb, whose portraits are Nos. 85 and 86 of this exhibition. Another portrait of the same lady, owned by descendants in Maryland, has upon the back, the following legend : "Frances Tabb Age, 23 J. Durand, painter, 1775" Practically the only record of Durand is to be found in Dunlap, "Arts of Design," Vol. I, page 144, where he says that Robert Sully stated: "He (Durand) painted an immense number of portraits in Virginia; his works are hard and dry, but appear to have been strong likenesses." The Durand portrait is entirely different from the one shown here which may be by Durand or from the brush of another artist. The picture shown is owned by Mrs. Tabb's great-great- granddaughter. On canvas: H. 343/^ inches; W. 27 inches. Lent by Mrs. John Hill Morgan. 133 LIST OF CONTRIBUTORS EARLY AMERICAN PAINTINGS LIST OF CONTRIBUTORS NAME SUBJECT Bartlett, Mrs. Franklin Mrs. James King . . . . Bayley, Frank W. Moss Kent ... , Bulkley, Jonathan John Hogg , . . . Bull, Mrs. William Lanman Peter Lanman Mrs. Peter Lanman Chapman, Miss A. G. Adam Babcock Mrs. Adam Babcock Clarke, De Witt A. Major John Dies Mrs, John Dies Clarke, Thomas B. Alexander Garden Clements, Mr. and Mrs. G. H. Epes Sargent . ... Cochran, Alexander Smith WilHam Heathcote De Lancy President James Madison Ames Morse Sully . Smibert Copley Eichholtz Inman 52 Trumbull 112 , Trumbull . • "3 Copley 8 , Copley Unknown Artist 129 Unknown Ai -tist 130 8r 18 26 41 list of contributors Cochran, Alexander Smith (Continued) NAME SUBJECT President William Henry Harrison, James Hamilton ... , , General Horatio Gates . General Henry Knox President John Adams Connecticut Historical Society Stephen Mix Mitchell , , Mrs. Stephen Mix Mitchell Cooper, Samuel W. Mary Justice Cooper Crittenden, Walter H. Mrs. John Bacon Dr. Elihu H. Smith Dr. Reuben Smith Ehrich Galleries George Washington , Fox, William Henry Lieutenant W, H, Korn ARTIST PAGE Otis . . • • • 59 Peale, J. . . . . 65 Pine . . ¦ ¦ 73 Savage ¦ 79 Winstanley 127 Morse . . ... 54 Morse . . . . SS Eichholtz , 25 Copley 10 Sharpies . 80 Sharpies , . 80 Stuart Sully Gassaway, Mrs. H. (through Mr. C. H. Hart, attorney) The Last Supper , Goodwin, M. L. Captain John Larrabee Haines, Wilder H. Sampson V. S. Wilder Hale, Mrs. Robert Lee Mrs. Joseph Barrell , Halsey, R. T. H. A Philadelphia Gentleman , Halsey, Miss R. V. Mrs. Sampson V. S. Wilder Hamilton, Mrs. Allen McLane Hannah Seagraves Reeves . , , . Harrison, Mrs. Benjamin President William Henry Hairison Hesselius Badger Vanderlyn Copley St. Memin Waldo Sully . . Beard 93 103 34 116 78 117 104 3a EARLY AMERICAN PAINTINGS NAME SUBJECT Hart, Charles Henry, attorney for Mrs. H. Gassaway, The Last Supper .... Mrs, Lewis S. Jervey, George Washington Hesselius . Peale, R. 34 71 HiNRicHS, Frederick W. Alexander Hamilton Trumbull Hopkins, Mrs. Dunlap Moses Pond Healy Hughes, William S. General John C. Fremont Ingersoll, William H. View of Rydal Water . Elliott 33 28 Inman 43 Jervey, Mrs. Lewis S. (through Mr. C. H. Hart, attorney) George Washington Peale, R Kane, Grenville George Washington .... KiRBY, Thomas E. George Washington . Lanman, David H. Ralph Kirkley ... Lansing, Mrs. Abraham General Peter Gansevoort Lewis, John Frederick John Howard Payne President W. H. Harrison . . Levi Dickson ... Captain Robert Allen General Henry Lee . Colonel Moses Thomas Andrew Hamilton, IV Mrs. Andrew Hamilton Portrait of the Artist Lawrence Washington Pine , Peale, C. W. Trumbull . Stuart 71 7S 64 85 Eichholtz . . 27 Marchant • 5° Neagle . . 57 Peale, C. W. , 60 Pine , 74 Vanderlyn . . , IIS Wertmuller , 122 Wertmuller 123 Wertmuller , 124 Woolaston 128 Lockwood, Luke Vincent Jane Cooper Sully .... Sully 1 06 list of contributors NAME SUBJECT Long Island Historical Society Chief Justice John Marshall Lyman, Frank James Murray Edward Hutchinson Robbins Macbeth, William Mrs. Joshua Babcock Marshall, The Misses Johannes Panet Mrs, Johannes Panet Meigs, Miss Sarah Throckmorton The Spanish Mantilla Morgan, John Hili. Peale, R. Copley Harding Blackburn Unknown Artist Unknown Artist Sully 69 17 32 131 132 I OS Death of Major Pierson Copley 21 Theodore Gourdin St. Memin 78 Charlotte Tabb Sharpies 80 Emory Tabb . Sharpies 80 Elizabeth Cook Sully 99 Morgan, Mrs. John Hill Samuel Myers Stuart 90 Frances Peyton Tabb Unknown Artist 133 Morgan, Mrs. James L. William Hill , Peale, R. ej Mrs, William Hill Peale, R. 68 Morgan, John Pierpont George Washington Sharpies 80 American Peace Commissioners, Treaty of 1782 West 126 Museum of the Brooklyn Institute OF Arts and Sciences Mrs. Ben Da-\^is Copley 13 Robert Sno>\t ; Dunlap 22 Portrait of ^the^ Artist Hall 30 The Sketch'eij (Mademoiselle Rosina) Huntington 36 Fanny Kemble Butler Inman 37 Mrs. Robert Lowden Inman 40 Colonel James Burn Jarvis 44 Marquis de La Fayette Morse . 53 George Taylor Peale, R, 70 EARLY AMERICAN PAINTINGS Museum of the Brooklyn Institute of Arts and Sciences (Continued) NAME SUBJECT ARTIST PAGE Colonel Isaac Barre . . Stuart 82 John Watts, Sr, . Stuart 96 Unknown Gentleman New York, the City of Governor George Clinton Pierrepont, Robert L. Hezekiah B. Pierrepont George Washington . Pierrepont, Miss Peter Augustus Jay Pratt, Herbert Lee The Constitution and the Guerriere The Wasp and the Frolic The United States and the Macedonian Death of the Earl of Chatham Mrs. Isaac Holmes Daniel Boone President Martin Van Buren Rev. Henry Croswell Portrait of a Lady Susan W. Morse, as "The Muse'' Sergeant Andrew Wallace George Washington , President W. H. Harrison George Washington (Port-hole type) Mrs. Peter De Lancey George Washington James Campbell Seth Hastings Captain John Chestnut Lady Frances Erskine Thomas B, Law . Mrs. Thomas B. Law President James Madison Thomas McKean Captain R, Pearson Colonel W, S. Smith George Washington (Vaughn type) Captain WilHam Chamberlain Mrs, Wm, Chamberlain Joseph A, Dougan Waldo Trumbull Inman Stuart Jarvis BirchBirch Birch Copley CopleyHarding Huntington InmanLeslie Morse . Neagle Peale, C Peale, R. Peale, R. Pratt Sharpies St.-Memin St.-Memin StuartStuart Stuart Stuart Stuart Stuart Stuart Stuart Stuart Sully Sully Sully W. log 4295 48 46 5 20 14 31 35 38 49 56 58 63 66 72 7780 7878 83 87 919294 97 list of contributors Pratt, Herbert Lee (Continued) NAME SUBJECT ARTIi Theodore Gourdin . . Sully . President John Tyler . Sully, Jr. William Brown . . . Trumbull Sortie from Gibraltar . , Trumbull Dr. Enoch Edwards . . West . Putnam, Mrs. William A. Mrs. Joseph Barrell .... . Copley John B, Holmes . . , . Copley Rhode Island School of Design Pamela Andrews . . . . , , Feke , Rosenthal, Albert Mrs. Winfield Scott . . Durand . WiUiam Inman . . Inman Mrs. G. Bell . . . Peale, C. W. Colonel Tench Tilghman Peale, C, W. Sanborn, Miss Nancy M. Jonathan Mountfort Copley Steele, William D. William Steele , . . Waldo Mrs. WilHam Steele . . . Waldo Verplanck, William E. Daniel Crommelin Verplanck Copley Governor De Witt Clinton Jarvis Washington, W. Lanier Mary Ball Washington . , Pine White, Alfred T. Joseph Moss White . Waldo White, The Misses Governor George Clinton . Ames President John Adams . . Morse . Woolsey, Professor T. S. Mrs. Charles Jeffery Smith . , , , . Earl Wyatt, Christopher B. Colonel William Croghan . , Jarvis , Lucy Clark Croghan . . Jarvis . 101 107108114125 1215 29 23 39 6162 16 118119 19 45 76 SJ 24 4647 mm * ' s ' i ' i mm n^h u , < jjii'ir']' f ; f ' ' I j! H'i rt'^ -r ^.A9 'iy< 'st< 1 ^-|i't'''^:ft'i'>V:?' '''•^''•^' i ISA' ;:¦;'¦ • ; "''' .s ( ) & f i lii !il 1 ¦m I i. W?J1