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Nathaniel Jocelyn: in the Service of Art and Abolition

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Nathaniel Jocelyn: in the Service of Art and Abolition W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Nathaniel Jocelyn: in the service of art and abolition Toby Maria Chieffo-Reidway College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African History Commons, American Studies Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Chieffo-Reidway, Toby Maria, "Nathaniel Jocelyn: in the service of art and abolition" (2005). Dissertations, Theses, and Masters Projects. Paper 1539623473. https://dx.doi.org/doi:10.21220/s2-psph-pc43 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. NATHANIEL JOCELYN: IN THE SERVICE OF ART AND ABOLITION A Dissertation Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy by Toby Maria Chieffo-Reidway 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPROVAL SHEET This Dissertation is submitted in partial fulfillment of The Requirements for the degree of Doctor of Philosophy 'Dtafu&s QJueJfd - flex du^axx/ Tdby Maria Chieffo-Reidway C j Approved by the Committee, June 2005 Scott R. Nelson, Ph.D., Chair Associate Professor of History, Department of History College of William and Mary Melvin P. Ely, Ph?D. Professor of History and Bslack Studies, Department of History College of William and Mary Kevin P. Kelly^EhXOJistorian Department of Historical Research, Colonial Williamsburg Foundation, and Lecturer, Department of History College of William and Mary Ellen G. Miles, Ph.D. Curator and Chair, Department of Painting and Sculpture. National Portrait Gallery, Smithsonian Institution x i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION To My Father and Mother, Who Taught Me the Beauty of Portraiture. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page Acknowledgments v List of Figures vii Abstract xi Introduction 2 Chapter I. Nathaniel Jocelyn and the Profession of Art: Laying the Foundation 8 Chapter II. Jocelyn: Itinerant Painter in Savannah and Pilgrim on the Grand Tour 31 Chapter III. Jocelyn’s Early Career, Character, and Artistic Development 64 Chapter IV. Return to Savannah and Religious Underpinnings 84 Chapter V. Jocelyn the Immediatist: The Crucial Years of Art and Abolition 118 Chapter VI. The Amistad Revolt: An Abolitionist Rallying Cry 163 Chapter VII. Cinque: A Heroic Portrait for the Abolitionist Cause 179 Chapter VIII. Concluding a Life of Art and Commerce 216 Appendix 245 Bibliography 287 Vita 305 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS This dissertation relies on the materials and expertise provided by numerous curators and librarians. I thank them all: African American Museum in Philadelphia, Archives of American Art, DC, Beineke Rare Book and Manuscript Library at Yale University, Boston Public Library, Boston Athenaeum, Catalog of American Portraits, National Portrait Gallery, Connecticut Historical Society, Connecticut Historical Commission, Columbia University in the City of New York, Darien Historical Society, CT, Inventories of American Paintings and Sculpture Smithsonian American Art Museum, Fairfield Historical Society, CT, Frick Art Reference Library, Georgia Historical Society, Historical Society of Pennsylvania, Joseph Mark Lauinger Library, Georgetown University, Litchfield Historical Society, CT, Lyman Allyn Art Museum at Connecticut College, Madison Historical Society, CT, Museum of Early Southern Decorative Arts (MESDA), Museum of African American History, MA, Museum of Fine Arts, Boston, National Academy Museum and School of Fine Arts, New Canaan Historical Society, CT, New Haven Historical Society, CT, New Milford Historical Society, CT, Presbyterian Church (USA), SAAM and NPG Library, Sterling Memorial Library at Yale University, Telfair Museum of Art, GA, Wadsworth Athenaeum, CT, Westport Historical Society,CT, Woodstock Historical Society, CT, Yale University Art Gallery, Yale University Gallery, Vassar Museum. I express my gratitude to the College of William and Mary for awarding me a graduate fellowship and the Smithsonian Institution for a Pre-Doctoral Fellowship. Both institutions supported my research. I have received invaluable help from various mentors. Sidney Hart, Lois Fink, Brandon Fortune, James Horton, Edward Ingebretsen, Jo Ann Sims, and Judith Hollomon. I would also like to thank Patricia Lynagh and Trina Brown for their help in obtaining research materials, and the Georgetown University UIS crew, especially Wayne Casey, and Theodora Bakker, Dahlgren Memorial Library for technical support and advice. I owe a special thank you to Bernard Heinz for planting the seed, Peter Malia for his excellent transcription of Jocelyn’s materials, and Alan Wallach, for his many years of mentoring during my graduate studies, and for sharing with me his limitless knowledge of and love for American Art. It has been my good fortune to receive invaluable help from the four extraordinary mentors and advisors on my dissertation committee. 1 w'ish to thank Kevin P. Kelly, Department of Historical Research, Colonial Williamsburg Foundation, and lecturer, Department of History at the College of William and Mary, who provided v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. immeasurable assistance during my master’s thesis research, and introduced me to the bounty of historical material available at Colonial Williamsburg. Ellen G. Miles, senior curator and chair, Department of Painting and Sculpture at the Smithsonian’s National Portrait Gallery, unselfishly served as my primary advisor and guide in writing the chapter on Jocelyn’s portrait of Cinque during my pre-doctoral fellowship at NPG. Her expertise in early American portraiture has been an invaluable resource. Melvin P. Ely, professor of history at the College of William and Mary, motivated my writing and encouraged me throughout my years in graduate school. I am honored that in preparation for my comprehensive exams, Mel allowed me to read several draft chapters of his award winning book, Israel on the Appomattox: A Southern Experiment in Black Freedom from the 1790s Through the Civil War. His scholarship in African American studies is an inspiration to me. Most importantly, I am sincerely grateful to my primary advisor, Scott R. Nelson, associate professor of history at the College of William and Mary, for the countless hours he spent reading, correcting and supporting my research and ideas. His kindness, generosity, curiosity, insightful critiques, and unfailing good humor helped me through the dark hours. Working with him has made me a better writer and scholar—thank you for keeping my focus on “the big picture.” A special thank you to my in-laws, Bill, Sr., Kathy, Kristine, and Michael Reidway, who have helped me endure this process, and to all of my friends, especially those who knew me from start to finish, and called me Dr. Toby long before I officially earned it. I owe my deepest gratitude to my loving and supportive parents, Patricia and Clifford, whose sacrifices are too numerous to mention, and my sister Nina and brother- in-law Robert, for giving me the strength to complete this project, and for believing in me while sharing the highs and lows. Thank you to my departed grandmother, Nonny. I finally finished my “book” as she called it—her spirit and fortitude live through me. I would like to thank my wonderful and devoted husband Bill who supported my goals and my work. Because of his faith in my abilities, he gave me the courage and sustenance to finish my dissertation—I love you. To my beautiful daughter Ella Rose, seeing her smiling face everyday is a constant reminder that being her mother is my greatest accomplishment. A final word to Nathaniel Jocelyn, you deserve more, but this is a fine start indeed. vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES [Figures have been placed after each page referenced below] Figure Page 1.1. George Munger,Nathanial Jocelyn, (c.1817) Watercolor on Ivory, 2 7/8X 3 3/8 in. Yale University Art Gallery, New Haven, CT, Mabel Brady Garvan Collection. 18 III. 1. Daniel Dickenson, Richard Whatcoat Dodson, (c.1 8 3 0s) Watercolor on Ivory, 2 1/2X2 in. photo: Private Collection. 82 V.l. Simeon Jocelyn, Jehudi Ashmun (1794-1828), (after the posthumous portrait by Nathaniel Jocelyn) New Haven Colony Historical Society collection, photo: from Heinz, Nathaniel Jocelyn, 35. 124 V.2. Nathaniel Jocelyn, John Durrie, (c.1837) Oil on wood panel, 11 1/2X9 1/2 in. photo: Private Collection. 153 V.3. Nathaniel Jocelyn, Clarissa Durrie, (c.1837) Oil on wood panel, 11 1/2X9 1/2 in. photo: Private Collection. 153 V.4. Nathaniel Jocelyn, George H. Durrie, (c.1837) Oil on wood panel, 9 1/4X8 1/4 in. photo: Private Collection. 153 V.5. Nathaniel Jocelyn to John Durrie, Letter of Agreement (1837) Ink on paper, 11 1/2 X 14 in. photo: Private Collection. 153 V.6. Nathaniel Jocelyn to John Durrie, Letter o f Agreement [Verso] (1837) Ink on paper, 11 1/2 X 14 in. photo: Private Collection. 153 Y.7. “THE EMANCIPATOR...EXTRA. February 24th., 1837” (Connecticut Historical Society) photo: by Author. 155 VI. 1. Attributed to William Henry Brown, John Quincy Adams, (c.1839) Hollow-cut silhouette, 6X 3 1/2 in. photo: Private Collection. 166 v i i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VI.2. John W. Barber, Four Children and Antonio, the Captain’s Slave, photo: from History o f theAmistad Captives (New Haven: E.L.
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