AA-169 Primrose Hill, (Primrose Farm, Young's Inn)
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New York Painting Begins: Eighteenth-Century Portraits at the New-York Historical Society the New-York Historical Society Holds
New York Painting Begins: Eighteenth-Century Portraits at the New-York Historical Society The New-York Historical Society holds one of the nation’s premiere collections of eighteenth-century American portraits. During this formative century a small group of native-born painters and European émigrés created images that represent a broad swath of elite colonial New York society -- landowners and tradesmen, and later Revolutionaries and Loyalists -- while reflecting the area’s Dutch roots and its strong ties with England. In the past these paintings were valued for their insights into the lives of the sitters, and they include distinguished New Yorkers who played leading roles in its history. However, the focus here is placed on the paintings themselves and their own histories as domestic objects, often passed through generations of family members. They are encoded with social signals, conveyed through dress, pose, and background devices. Eighteenth-century viewers would have easily understood their meanings, but they are often unfamiliar to twenty-first century eyes. These works raise many questions, and given the sparse documentation from the period, not all of them can be definitively answered: why were these paintings made, and who were the artists who made them? How did they learn their craft? How were the paintings displayed? How has their appearance changed over time, and why? And how did they make their way to the Historical Society? The state of knowledge about these paintings has evolved over time, and continues to do so as new discoveries are made. This exhibition does not provide final answers, but presents what is currently known, and invites the viewer to share the sense of mystery and discovery that accompanies the study of these fascinating works. -
Maryland Historical Magazine, 1980, Volume 75, Issue No. 4
Maryland •listorical Magazine ublished Quarterly by The Museum and Library of Maryland History The Maryland Historical Society Winter 1980 THE MARYLAND HISTORICAL SOCIETY OFFICERS J. Fife Symington, Jr., Chairman* Robert G. Merrick, Sr., Honorary Chairman* Leonard C. Crewe, Jr., Vice Chairman* Frank H. Weller, Jr., President* J. Dorsey Brown, III, Vice President* Stuart S. Janney, III, Secretary* Mrs. Charles W. Cole, Jr., Vice President* John G. Evans, Treasurer* E. Phillips Hathaway, Vice President* J. Frederick Motz, Counsel* William C. Whitridge, Vice President* Samuel Hopkins, Past President* 'The officers listed above constitute the Society's Executive Committee. BOARD OF TRUSTEES H. Furlong Baldwin Richard R. Kline Frederick Co. Mrs. Emory J. Barber St. Mary's Co. Mrs. Frederick W. Lafferty Gary Black, Jr. John S. Lalley James R. Herbert Boone {Honorary) Charles D. Lyon Washington Co. Thomas W. Burdette Calvert C. McCabe, Jr. Philip Carroll Howard Co. Robert G. Merrick, Jr. Mrs. James Frederick Colwill Michael Middleton Charles Co. Owen Daly, II J. Jefferson Miller, II Donald L. DeVries W. Griffin Morrel Emory Dobson Caroline Co. Richard P. Moran Montgomery Co. Deborah B. English Thomas S. Nichols Charles O. Fisher Carroll Co. Addison V. Pinkney Mrs. Jacob France {Honorary) J. Hurst Purnell, Jr. Kent Co. Louis L. Goldstein Culvert Co. George M. Radcliffe Anne L. Gormer Allegany Co. Adrian P. Reed Queen Anne's Co. Kingdon Gould, Jr. Howard Co. Richard C. Riggs, Jr. William Grant Garrett Co. David Rogers Wicomico Co. Benjamin H. Griswold, III Terry M. Rubenstein R. Patrick Hayman Somerset Co. John D. Schapiro Louis G. Hecht Jacques T. -
The Role of Family Portraiture at the Carlyle
Carlyle House February 2008 D OCENT D ISPATCH Northern Virginia Regional Park Authority Status Preserved and Defined: The Role of Family Portraiture at the Carlyle House by Philippe Halbert Among the most tangible links to the eighteenth century in the Carlyle House collection today are the “3 family pictures” listed between a collection of looking glasses and prints on John Carlyle’s 1780 inventory. Although they were never guests of their American family in Alexandria, William, Rachel, and George Carlyle nonetheless play an important role in our understanding of the life of John Carlyle. In addition to simply providing “faces” to go with the names, their portraits also serve to illustrate the role of family portraiture among the provincial elite. As can be imagined, the ordinary Virginian of the colonial period could not afford to commission a portrait. The collection of three displayed in his fine Mr. and Mrs. Atherton by Arthur Devis, oil on canvas, ca. 1743 high Georgian-Palladian home, in addition to his painted in the colonies and sent to Great Britain, whitewashing interior spaces. Because of their demonstrate Carlyle’s aspirations towards gentility “illuminating” work, they were often referred to and a means by which he meant to convey his status as limners. Although they did not usually sign in the New World as well as the Old. their work, many examples of the limner’s trade survive, such as a series of portraits of the émigré The tradition of portrait-painting in the Huguenot Jacquelin-Ambler family of Jamestown American colonies had its origins in British practice painted ca. -
Revolutionary Mail Bag Governor Thomas Sim Lee's Correspondence 1779 -1782 from Original Pencil Drawing Hy Robert S
REVOLUTIONARY MAIL BAG GOVERNOR THOMAS SIM LEE'S CORRESPONDENCE 1779 -1782 FROM ORIGINAL PENCIL DRAWING HY ROBERT S. PEABODY, IN POSSESSION OE AUTHOR. REVOLUTIONARY MAIL BAG: GOVERNOR THOMAS SIM LEE'S CORRESPONDENCE, 1779-1782 Edited by HELEN LEE PEABODY HE contents of a chest of several hundred unpublished letters T and papers, belonging to Thomas Sim Lee, Governor of Maryland during the American Revolution, form the basis of the following pages.1 The chest, containing these letters and private papers, together with the rest of his personal possessions, was inherited by his youngest son, John Lee, the only unmarried child still living with his father at the time of his death. John Lee, my grandfather, left his inheritance, the old family mansion, " Needwood," in Frederick County, and all it contained, to my father, Charles Carroll Lee. In this manner the chest of letters descended to the present generation. 1 There is no life of Lee. Standard accounts are to be found in the Dictionary of American Biography, XI, 132, and H.E. Buchholz, Governors of Maryland (Baltimore, 1908), pp. 9-13. 1 2 MARYLAND HISTORICAL MAGAZINE The papers—designated hereafter as the T. S. Lee Collection— when found, comprised over a thousand items. The papers were arranged in packages, tied with tape, and tabulated, which facili tated the onerous task of sorting and reading. Many had to be laid aside, as totally unsuited to a compilation of this kind. These comprised invoices, bills of lading, acknowledgements by London firms of hogsheads of tobacco received, orders for furniture, clothing, household utensils—all, in short, that made up the inter change of life between our Colonial ancestors and British mer chants. -
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. -
Dissertation FINALLY.Pdf
Copyright by Rowena Houghton Dasch 2012 The Dissertation Committee for Rowena Houghton Dasch Certifies that this is the approved version of the following dissertation: “Now Exhibiting:” Charles Bird King’s Picture Gallery, Fashioning American Taste and Nation 1824-1861 Committee: Susan Rather, Supervisor Michael Charlesworth Neil Kamil Emily Ballew Neff Jeffrey Smith “Now Exhibiting:” Charles Bird King’s Picture Gallery, Fashioning American Taste and Nation 1824-1861 by Rowena Houghton Dasch, AB, MA Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2012 Dedication For my family, each member of which has carried me through a portion of this journey. Dorothy Knox and Tom Houghton Kevin, Caroline, and Litty Dasch Acknowledgements When one embarks on a journey destined to take up a third of her lifetime, it becomes impossible adequately to acknowledge all who have joined in on the adventure. My first and greatest acknowledgment must be to my parents, Tom and Dorothy Knox Houghton. Their commitment to education and to the arts underpins all that I have accomplished academically in my own life. My mother has supported me at each step of the way, to the point of decamping for a summer to Alexandria, Virginia to provide childcare while I was in residence at the National Portrait Gallery. My father was taken from us too soon. He saw me finish my MA, and the strength of his conviction that I would finish my Ph.D. -
Maryland Historical Magazine, 1941, Volume 36, Issue No. 4
mpi sc szn-i-iHi MARYLAND HISTORICAL MAGAZINE VOL. XXXVI DECEMBER, 1941 No. 4 JOSHUA BARNEY AND THE FRENCH REVOLUTION By BERNARD MAYO When William Wirt was writing his biography of Patrick Henry and having difficulty in finding material on his subject, St. George Tucker commiserated with him on the indifference of Virginians to their great men. It seemed to Tucker that even Socrates would have been soon forgotten in the Ancient Dominion.1 This same sort of indifference has obscured the merits of a num- ber of Maryland's distinguished sons, and among them until recently has been Joshua Barney of Baltimore. To most Americans his name, if it meant anything at all, vaguely recalled the gallant defense of Washington in 1814 made by Barney's marines and flotilla-men at William Wirt's home town of Bladensburg. Yet this was but one of the Marylander's many exploits and public services. Happily he has now been rescued from an undeserved obscurity by Mr. Hulbert Footner's robust and stirring biography. Sailor of Fortune: The Life and Adventures of Commodore Barney, U. S. N.2 It is not the purpose here to recount what Mr. Footner has already told, but rather to throw a little additional light on one phase of Joshua Barney's career. In editing for the American Historical Association a volume comprising the instructions sent by the British foreign secretaries to Britain's envoys in America from 1791 to 1812, several items have been discovered which are pertinent to the man. The Foreign Office archives reveal that 1St. -
John Wollaston, Port
INFORMATION TO USERS This material was produced from a microfilm copy o f the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of die original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.Tha sign or "?c.,§€t" for pages apparently lacking from the document photographed is "Mining Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. Youa will find good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. I t is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Justus Engelhardt Kühn an Early Eighteenth Century Maryland Portrait Painter
1936.] Justus Engelhardt Kühn 243 JUSTUS ENGELHARDT KÜHN AN EARLY EIGHTEENTH CENTURY MARYLAND PORTRAIT PAINTER BY J. HALL PLEASANTS HE identification of a "new" early eighteenth T century portrait painter who followed his pro- fession in one of the American colonies is of more than local interest as it helps to assemble and classify the factors which influenced the early development of American portraiture. That in Maryland these early inñuences were not predominately British is clear, for the first portrait painter in this Province of which we have as yet a definite record, Justus Engelhardt Kühn, who is now presented to students of early American portraiture, was a German, and his immediate suc- cessor, Gustavus Hesselius, was a Swede. If we add to these Augustine Herrman, of New Amsterdam and Maryland, the Bohemian brother-in-law of Governor Peter Stuyvesant of New York, a Bohemian-Dutch influence is also to be recognized as entering the early history of the graphic arts in Maryland. Herrman's bust appears on the great map of Virginia and Mary- land, engraved by Faithorne, which Herrman himself drew from his own surveys for Cecilius Calvert, second Lord Baltimore, and published in London in 1673. For the making of this map he received as recompense a grant of "Bohemia Manor," a magnificent estate of some 10,000 acres in Baltimore, later Cecil, County. The painting activities of Kühn, with whom we are chiefly concerned in this study, extended from 1708 to 1717, and those of Hesselius from about 1717 to 1734. 244 American Antiquarian Society [Oct., Fortunately there are a sufficient number of examples preserved of the work of each to make it possible to evaluate them as painters. -
A Portrait of the First Continental Congress
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2009 Fifty gentlemen total strangers: A portrait of the First Continental Congress Karen Northrop Barzilay College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the United States History Commons Recommended Citation Barzilay, Karen Northrop, "Fifty gentlemen total strangers: A portrait of the First Continental Congress" (2009). Dissertations, Theses, and Masters Projects. Paper 1539623537. https://dx.doi.org/doi:10.21220/s2-61q6-k890 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]. Fifty Gentlemen Total Strangers: A Portrait of the First Continental Congress Karen Northrop Barzilay Needham, Massachusetts Master of Arts, College of William and Mary, 1998 Bachelor of Arts, Skidmore College, 1996 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program The College of William and Mary January 2009 © 2009 Karen Northrop Barzilay APPROVAL PAGE This Dissertation is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy ~ilayd Approved by the Committee, October, 2008 Commd ee Chair Professor Robert A Gross, History and American Studies University of Connecticut Professor Ronald Hoffman, History Director, Omohundro Institute of Early American History and Culture The College of William and Mary Associate Professor Karin Wuff, History and encan Studres The College of William and Mary ABSTRACT PAGE When news of the Coercive Acts reached the mainland colonies ofBritish North America in May 177 4, there was no such thing as a Continental Congress. -
Young America
KEY TERMS • Colonial Maryland/ YOUNG Federal Baltimore • Children’s Portraiture • Free African-Americans AMERICA • Landowners • Merchants CLOSE LOOKING CHARLES CALVERT (left) 1761 AND HIS SLAVE John Hesselius JOHN HESSELIUS’S PAI NTI NG of Charles Calvert was created when American, 1728–1778 Charles was just five years old. Charles stands in a commanding full- Oil on canvas length pose wearing a plumed hat and expensive clothes made of Gift of Alfred R. and Henry G. Riggs, in Memory of General Lawrason Riggs imported silk. He holds drumsticks in his right hand and is attended BMA 1941.4 by an enslaved boy who holds a drum and also wears fine dress. CHARLES HERMAN Charles appears as a miniature adult, which was often the way STRICKER WILMANS (right) c. 1804 children were depicted during the 18th century. The grand scale of Joshua Johnson the Charles Calvert portrait, its outdoor setting, lush textures, rich use American, 1761–c. 1830; of light and shade, and careful details identify it as being painted in a active in Baltimore, 1796–1824 Oil on canvas European style that wealthy American patrons demanded. Bequest of Susan D. Tilghman Horner BMA 1944.6 PAI NTE D BY BALTI MOR E ARTIST Joshua Johnson around 1804, Charles Herman Stricker Wilmans was a young child of six or seven when this portrait was made. Blond with blue eyes, Charles wears TEACHER’S GUIDE | AMERICAN COLLECTION | ©2014 | ARTBMA.ORG PAGE 10 Baltimore Museum of Art ©2014 www.artbma.org YOUNG AMERICA ARTIST SPOTLIGHT a dark-gray suit, white collar, and red shoes. -
"I Would Not Begrudge to Give a Few Pounds More": Elite Consumer Choices in the Chesapeake, 1720-1785 the Calvert House Ceramic Assemblage
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1990 "I Would Not Begrudge to Give a Few Pounds More": Elite Consumer Choices in the Chesapeake, 1720-1785 The Calvert House Ceramic Assemblage Steven Edward Patrick College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Patrick, Steven Edward, ""I Would Not Begrudge to Give a Few Pounds More": Elite Consumer Choices in the Chesapeake, 1720-1785 The Calvert House Ceramic Assemblage" (1990). Dissertations, Theses, and Masters Projects. Paper 1539625573. https://dx.doi.org/doi:10.21220/s2-ecsy-yd36 This Thesis 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]. "I WOULD NOT BEGRUDGE TO GIVE A FEW POUNDS MORE” ELITE CONSUMER CHOICES IN THE CHESAPEAKE, 1720-1785 The Calvert: House Ceramic Assemblage A Thesis Presented to The Faculty of the Department of American Studies The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Steven E. Patrick May 1990 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts by Steven E . Patrick Approved, April 1990 Anne E.