Group of 33 Are a Number of Medals Commemorating Specific Events In

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group of 33 are a number of medals commemorating specific events in both Washington's life and the American Revolution, such as his taking command of the Continental Army, the battle at Trenton, and the surrender at Yorktown. The collection also includes several medals struck in Washington's honor by the Masons and other societies, and one produced in Paris during the Revolution at the order of the French philosopher and author, Voltaire. Gift of Dr & Mrs. Joseph E. Fields, Williamsburg, Virginia. SMALL WOODEN BOX, oval, Shaker-type, with the following inscrip- tion inside the lid: "AP Cuningham/So Ca:' O.H. 1 7/16" (3.7 cm). L. 3 11/16" (8.3 cm). W. 2 5/32" (5.5 cm). The box is said to have originally belonged to Ann Pamela Cunningham, the founder and first Regent of the Mount Vernon Ladies' Association. Gift of Mrs. Robert Webster, Columbia, South Carolina, a great-grandniece of Miss Cunningham. REPRODUCTION STATES CHINA PLATES, three; each having a white ground with raised chain and fleur-de-lis design around rim; decorated in underglaze blue and overglaze gold. Marked on back in underglaze green: "MADE IN ENGLAND/ for/ HANSEL SLOAN & Co! HARTFORD, CONN." 0. Diam. 9"(22.9 cm). The States china, which was a gift to Martha Washington from a Dutch merchant in 1796, has been reproduced many times since the mid-19th century by English, French, and American companies. Gift of Mrs. Randall Hagner, Jr, Vice Regent for the District of Columbia. COMMEMORATIVE RIBBON, silk, fashioned into a bookmark, as a souvenir of the 1876 Centennial; decorated with patriotic motifs, including a portrait of George Washington, after Gilbert Stuart, and inscribed "THE FATHER/ OF HIS/ COUNTRY;" tassel at bottom. O.L. about 9"( 22.9 cm). Ribbon: L. 7 1/16" (17.9 cm). W. 2 1/2" (6.4 cm). Gift of Mr & Mrs. Oscar Ghebelian, Alexandria, Virginia. THE TRENTON BATTLE MONUMENT MEDAL; aluminum, circa 1893; with red, white, and blue ribbon and metal hanger. Obverse, undraped bust of George Washington, facing viewer's left; "BECHTEL TRENTON" below truncation; and ".TO COMMEMORATE THE BATTLE OF TRENTON, N.J./ DECEMBER 26. 1776." around. Reverse, monument in center;"TRENTON BATTLE MONUMENT" 48.

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132 Portraits by Gilbert Stuart. in 1914
132 Portraits by Gilbert Stuart. PORTRAITS BY GILBERT STUART NOT INCLUDED IN PREVIOUS CATALOGUES OF HIS WORKS. BY MANTLE FIELDING. In 1914 the '' Pennsylvania Magazine of History and Biography" published a list of portraits painted by Gilbert Stuart, not mentioned in the "Life and Works of Gilbert Stuart" by George C. Mason. In 1920 this was followed in the same periodical by "Addenda and Corrections" to the first list, in all adding about one hundred and eighty portraits to the original pub- lication. This was followed in 1926 by the descriptive cata- logue of Stuart's work by the late Laurence Park, which noted many additions that up to that time had eluded the collectors' notice. In the last two years there have come to America a number of Stuart por- traits which were painted in England and Ireland and practically unknown here before. As a rule they differ in treatment and technique from his work in America and are reminiscent more or less of the English school. Many of these portraits lack some of the freedom and spirit of his American work having the more careful finish and texture of Eomney and Gainsborough. These paintings of Gil- bert Stuart made during his residence in England and Ireland possess a great charm like all the work of this talented painter and are now being much sought after by collectors in this country. No catalogue of the works of an early painter, how- ever, can be called complete or infallible and in the case of Gilbert Stuart there seems to be good reason to believe that there are still many of his portraits in Portraits by Gilbert Stuart.
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Deshler-Morris House
DESHLER-MORRIS HOUSE Part of Independence National Historical Park, Pennsylvania Sir William Howe YELLOW FEVER in the NATION'S CAPITAL DAVID DESHLER'S ELEGANT HOUSE In 1790 the Federal Government moved from New York to Philadelphia, in time for the final session of Germantown was 90 years in the making when the First Congress under the Constitution. To an David Deshler in 1772 chose an "airy, high situation, already overflowing commercial metropolis were added commanding an agreeable prospect of the adjoining the offices of Congress and the executive departments, country" for his new residence. The site lay in the while an expanding State government took whatever center of a straggling village whose German-speaking other space could be found. A colony of diplomats inhabitants combined farming with handicraft for a and assorted petitioners of Congress clustered around livelihood. They sold their produce in Philadelphia, the new center of government. but sent their linen, wool stockings, and leatherwork Late in the summer of 1793 yellow fever struck and to more distant markets. For decades the town put a "strange and melancholy . mask on the once had enjoyed a reputation conferred by the civilizing carefree face of a thriving city." Fortunately, Congress influence of Christopher Sower's German-language was out of session. The Supreme Court met for a press. single day in August and adjourned without trying a Germantown's comfortable upland location, not far case of importance. The executive branch stayed in from fast-growing Philadelphia, had long attracted town only through the first days of September. Secre families of means.
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Anthony, Albro, 209 Anthony, Elizabeth, 133, 209, 210
INDEX (Family surnames of value in genealogical research are printed in CAPITALS; names of places in italics Abell, John, to Humphry Marshall, ANTHONY, MICHAEL, 211 277 ANTHONY, SUSAN, 209 Aehey, Herman, 333 ANTHONY, THOMAS, 211 Achey, Jacob, 333 Antietam, Battle of, 31, 33, 39, 50 ; Adams, Charles Francis, 43 statistics of troops at, 48 Adams, John, 354 ; on advantages of Appleton, John, 73, 74 reprisals, 352 Archer, Capt. Thomas, 125 Adams, Robert, 293 Arent, Col. Baron, 239 Akin, James, engraver, 229; bio- Armistead, Gen. Lewis Addison, 4 graphical, 216 ARMSTRONG, GEORGE, 198, 199 ALBERT, MRS. JOHN SEAMAN, 298 ARMSTRONG, RACHEL, 198, 199 ALBRO, JOHN, 133 ARMSTRONG, THOMAS, 198, 199 Alden, John, 311 Asbury, Francis, 314 Alert, The, 365 Ashmead, Samuel, certificate of Oath Alexander, Gen., 44 of Allegiance of, 1777, 226 Alfred, The, 374 ASHTON, JANE, 300, 303 Allen, • • 343, 367 Assembly of Pennsylvania, 153-157 Allen, John, 348 ASSHETON, FRANCES, 295 ALLEN, MARTHA, 10, 13 ASSHETON, MARGARET, 296, 297 ALLEN, MARY, 10 ASSHETON, ROBERT, 295, 296, 297 ALLEN, NATHANIEL, 194, 195 ASSHETON, WILLIAM, 295 Allen, Nathaniel, Commissioner for Associated Militia Cavalry, 376 Colony of Pennsylvania, 127, 129 Audubon, James J., 335 ALLEN, NEHEMIAH, 194 Austin, Hon. James T., 135 ALLEN, PRISCILLA, 12, 13 Azilum, colony for French refugees, ALLEN, REBECCA BLACKFAN, 194 335, 336, 340 ALLEN, SAMUEL, 10 Allen, Sergeant Samuel, 376 Babson, Captain, 368 American Blues, 379 Bache, Benjamin Franklin, 382 American Magazine and Monthly BAILEY, ABIGAIL, 381 Chronicle for the British Colonies, BAILEY, FRANCIS, 381 edited by a "Society of Gentle- Baker, Maj. Chalklay S., 381 men," 343; printed by William Baker & Abell, to Humphry Marshall, Bradford, 343 ; poem signed Love- 272 lace published in 1758, 344; an- Balch, Thomas, 343 notated volume of, in British Mu- BALLIET, PAUL, 332 seum, 346, 347; verses in signed Baltimore, Lord, 128 F.
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A Closer Look at James and Dolley Madison Compiled by the National Portrait Gallery, Smithsonian Institution
A Closer Look at James and Dolley Madison Compiled by the National Portrait Gallery, Smithsonian Institution Target Grade Level: 4–12 in United States history classes Objectives After completing this lesson, students will be better able to: • Identify and analyze key components of a portrait and relate visual elements to relevant historical context and significance • Compare and contrast the characteristics of two portraits that share similar subject matter, historical periods, and/or cultural context • Use portrait analysis to deepen their understanding of James and Dolley Madison and the roles that they played in U.S. history. Portraits James Madison by Gilbert Stuart Oil on canvas, 1804 The Colonial Williamsburg Foundation, Virginia Dolley Madison by Gilbert Stuart Oil on canvas, 1804 White House Collection, Washington, D.C.; gift of the Walter H. & Phyllis Shorenstein Foundation in memory of Phyllis J. Shorenstein Additional Artworks For more portraits and artworks, visit the “1812: A Nation Emerges” online exhibition at http://npg.si.edu/exhibit/1812 Background Information for Teachers Information about James Madison (1751–1836) from the James Madison Museum (http://www.thejamesmadisonmuseum.org/biographies/james-madison) James Madison was born on March 16, 1751, in Port Conway, Virginia. The oldest of ten children in a distinguished planter family, he was educated by tutors and at Princeton University (then called the College of New Jersey). At a young age, Madison decided on a life in politics. He threw himself enthusiastically into the independence movement, serving on the local Committee of Safety and in the Virginia Convention, where he demonstrated his abilities for constitution-writing by framing his state constitution.
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Portraits by Gilbert Stuart
PORTRAITS BY JUNE 29 TO AUGUST l • 1936 AT THE GALLERIES OF M. KNOEDLER & COMPANY NEWPORT RHODE ISLAND As A contribution to the Newport Tercentenary observation we feel that in no way can we make a more fitting offering than by holding an exhibition of paintings by Gilbert Stuart. Nar- ragansett was the birthplace and boyhood home of America's greatest artist and a Newport celebration would be grievously lacking which did not contain recognition of this. In arranging this important exhibition no effort has been made to give a chronological nor yet an historical survey of Stuart's portraits, rather have we aimed to show a collection of paintings which exemplifies the strength as well as the charm and grace of Stuart's work. This has required that we include portraits he painted in Ireland and England as well as those done in America. His place will always stand among the great portrait painters of the world. 1 GEORGE WASHINGTON Canvas, 25 x 30 inches. Painted, 1795. This portrait of George Washington, showing the right side of the face is known as the Vaughan type, so called for the owner of the first of the type, in contradistinction to the Athenaeum portrait depicting the left side of the face. Park catalogues fifteen of the Vaughan por traits and seventy-four of the Athenaeum portraits. "Philadelphia, 1795. Canvas, 30 x 25 inches. Bust, showing the right side of the face; powdered hair, black coat, white neckcloth and linen shirt ruffle. The background is plain and of a soft crimson and ma roon color.
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Portraits in the Life of Oliver Wolcott^Jn
'Memorials of great & good men who were my friends'': Portraits in the Life of Oliver Wolcott^Jn ELLEN G. MILES LIVER woLCOTT, JR. (1760-1833), like many of his contemporaries, used portraits as familial icons, as ges- Otures in political alliances, and as public tributes and memorials. Wolcott and his father Oliver Wolcott, Sr. (i 726-97), were prominent in Connecticut politics during the last quarter of the eighteenth century and the first quarter of the nineteenth. Both men served as governors of the state. Wolcott, Jr., also served in the federal administrations of George Washington and John Adams. Withdrawing from national politics in 1800, he moved to New York City and was a successful merchant and banker until 1815. He spent the last twelve years of his public life in Con- I am grateful for a grant from the Smithsonian Institution's Research Opportunities Fund, which made it possible to consult manuscripts and see portraits in collecdüns in New York, Philadelphia, Boston, New Haven, î lartford. and Litchfield (Connecticut). Far assistance on these trips I would like to thank Robin Frank of the Yale Universit)' Art Gallery, .'\nne K. Bentley of the Massachusetts Historical Society, and Judith Ellen Johnson and Richard Malley of the Connecticut Historical Society, as well as the society's fonner curator Elizabeth Fox, and Elizabeth M. Komhauscr, chief curator at the Wadsworth Athenaeum, Hartford. David Spencer, a former Smithsonian Institution Libraries staff member, gen- erously assisted me with the VVolcott-Cibbs Family Papers in the Special Collectiims of the University of Oregon Library, Eugene; and tht staffs of the Catalog of American Portraits, National Portrait Ciallery, and the Inventory of American Painting.
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A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
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George Washington (Lansdowne Portrait) by Gilbert Stuart
Smithsonian National Portrait Gallery (http://www.npg.si.edu/collection/lansdowne.html) George Washington (Lansdowne Portrait) by Gilbert Stuart Permanent installation: Second floor The "Lansdowne" portrait of George Washington is an American treasure, an iconic painting whose historical and cultural importance has been compared to that of the Liberty Bell and the Declaration of Independence. Painted by Gilbert Stuart, the most prestigious portraitist of his day, the 205-year-old painting has a storied past. The commonly used title—"Lansdowne"—is derived from the name of the person for whom it was painted, the first Marquis of Lansdowne. It was commissioned in 1796 by one of America's wealthiest men, Sen. William Bingham, and his wife Anne, for the marquis, a British supporter of the American cause in Parliament during the American Revolution. The gift was a remarkable gesture of gratitude and a symbol of reconciliation between America and Great Britain. The painting was displayed in Lansdowne's London mansion until his death in 1805, after which it remained in private hands and was eventually incorporated into the collection of the 5th Earl of Rosebery around 1890. The portrait was later hung in Dalmeny House, in West Lothian, Scotland. It has traveled to America only three times since its creation, the last time when it was loaned to the Smithsonian's National Portrait Gallery in 1968. Painted from life, the 8-foot-by-5-foot portrait shows Washington in a black velvet suit, with an oratorical gesture of the outstretched hand, the way he would appear at state occasions during his presidency.
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1. Gilbert Stuart (1755–1828)
1. Gilbert Stuart (1755–1828) George Washington, begun 1795 Description This portrait of President Washington, called the Gibbs-Channing-Avery portrait, is one of eighteen similar works known as the Vaughan group. The first of this type, presumably painted from life and then copied in all the others, originally belonged to Samuel Vaughan, a London merchant living in Philadelphia and a close friend of Washington. This original portrait by Stuart, painted in 1795 according to Rembrandt Peale, was subsequently acquired by Joseph Harrison of Philadelphia. While in Harrison's collection, Rembrandt Peale copied it many times. The version now in the Metropolitan Museum of Art, considered to be one of the earliest and best replicas, was sold to Stuart's close friend, Colonel George Gibbs, and subsequently descended in the Gibbs family. 2. Peaceable Kingdom, ca. 1830–32 Edward Hicks (American, 1780–1849) Oil on canvas; 17 7/8 x 23 7/8 in. (45.4 x 60.6 cm) Gift of Edgar William and Bernice Chrysler Garbisch, 1970 (1970.283.1) Edward Hicks, a Quaker preacher and sign painter, painted approximately sixty versions of the Peaceable Kingdom. The painting represents the messianic prophecy of Isaiah 11:6: "The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them." The presence of additional animals and children on the left is due to Hicks' inclusion of the seventh and eighth verses. Hicks derived the composition, a popular nineteenth-century Bible illustration, from an engraving after a drawing by the English artist Richard Westall.
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Revolutionary Revolutionary to Devoted Day a For
MohawkValleyHistory.com Designed by Brockett Creative Group, Inc. • www.BrockettCreative.com • Inc. Group, Creative Brockett by Designed ©2014 / First Edition First / ©2014 Complex, Schoharie Complex, OCT Old Stone Fort Days, Stone Fort Museum Museum Fort Stone Days, Fort Stone Old MohawkValleyHistory.com Mohawk AUG Drums Along the Mohawk Outdoor Drama, Drama, Outdoor Mohawk the Along Drums Honor America Days, Fort Stanwix, Rome Stanwix, Fort Days, America Honor JUL State Path Through History Weekend History Through Path State JUN Annual Events Annual “America’s First Frontier” First “America’s REGION Y LLE VA WK MOHA own path to discover. to path own a planned itinerary to explore or forge your your forge or explore to itinerary planned a “America’s First Frontier” First “America’s on MohawkValleyHistory.com and choose choose and MohawkValleyHistory.com on HISTORY our American heritage. Start your journey journey your Start heritage. American our THROUGH names, places, and events that nourished nourished that events and places, names, PATH Through History follow a route echoing echoing route a follow History Through Travelers on the the Mohawk Valley Path Path Valley Mohawk the the on Travelers REGION VALLEY Revolution. MOHAWK for independence during the American American the during independence for DISCOVER landmarks identified with the struggle struggle the with identified landmarks and explore the Mohawk Valley Region Region Valley Mohawk the explore and Y Y ISTOR ISTOR H H THROUGH THROUGH TH TH PA PA Follow the Path Through History Through Path the Follow , , Mohawk Valley Region Valley Mohawk Revolutionary War War Revolutionary The Mohawk Valley Region, America’s Explore the great events and First Frontier.
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John Trumbull VISUALIZING AMERICAN INDEPENDENCE
vinyl output at 100% wall color = BM HC-30 philadelphia cream vinyl color = Oracal dark blue 050 John Trumbull VISUALIZING AMERICAN INDEPENDENCE The Revolutionary War (1775–1783) was seen through the eyes of a small number of artists who had served in the American army. Colonel John Trumbull, a Connecticut native, commemorated our young nation’s struggle for independence in a series of heroic vignettes. As the artist explained to Thomas Jeerson, his paintings would “diuse the knowledge and preserve the memory of the noblest series of actions which have ever dignied the history of man.” Provocative and almost mythic as dramatic snapshots, Trumbull’s paintings represented our history in visual terms. His work set the stage for later generations of artists to reinterpret the Revolutionary War and enhance the iconography of American independence. 36.5” from base of wall approx 75” 47” wide 30” John Trumbull (1 of 5): 26”w x 38”h intro panel background to match wall color = BM HC-156/van duesen blue; type color = PMS Warm Gray 2 THE WADSWORTH–TRUMBULL CONNECTION AND THE AMERICAN REVOLUTION One of New England’s wealthiest Patriots, Colonel Jeremiah Wadsworth was a key figure in the Revolutionary War. Wadsworth hosted George Washington in his home, which stood on this very spot on Main Street, on multiple occasions between 1775 and 1789. As Commissary General to the Continental Army and later a political leader, Wadsworth used his influence to help contribute to the establishment of our young nation. His only son, Daniel, was a groundbreaking patron of the arts and created the Wadsworth Atheneum — on the lot where his father’s house once stood — in 1842.
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Image Credits
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