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Photographs / Arthur Dexter, 1830-1897, Photographer. Boston Athenæum - Prints & Photographs Department (Photo) UT.9 U9 Dex.A (No.2) / #2012.12 (No.3)

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Photographs / Arthur Dexter, 1830-1897, Photographer. Boston Athenæum - Prints & Photographs Department (Photo) UT.9 U9 Dex.A (No.2) / #2012.12 (No.3) 1 Photographs / Arthur Dexter, 1830-1897, photographer. Boston Athenæum - Prints & Photographs Department (photo) UT.9 U9 Dex.a (no.2) / #2012.12 (no.3) Contact Information Prints & Photographs Department Boston Athenæum 10 ½ Beacon Street Boston, MA 02108-3777 (617) 720-7652 Finding aid by Catharina Slautterback, May 2013 © Boston Athenæum Table of Contents: Descriptive Summary Acquisition Information Copyright Access Restrictions Scope and Content Note Historic and Biographical Note Descriptive Summary: A photograph album with albumen photographic prints by Arthur Dexter (1830-1897). This is one of four albums in the collection Four Nineteenth-Century Albums with Photographs by Arthur Dexter. One volume with 83 photographs pasted down on rectos of 80 leaves. Leaf size: 8¾ x 11⅜ inches. Acquisition Information: Gift of Peter S. and Jane Dexter Coleman, July 2012. Copyright: Permission to reproduce these photographs must be obtained in writing from the Boston Athenæum. Please visit the Boston Athenæum’s Rights and Reproductions page on its website: http://bostonathenaeum.org/node/46 Access: This album is available to researchers for consultation by appointment only. Please contact the Prints & Photographs Department at the Boston Athenæum. Scope and Content Note: A photograph album containing 83 photographic prints by Arthur Dexter (1830-1897). 2 The photographs in this album record Dexter’s travels in Italy and Egypt from 1869 to 1876. Photographs of Italian antiquities, villas, and churches are interspersed with portraits of Dexter’s friends in Rome’s expatriate colony, including William Wetmore Story (1819-1895), Hamilton Gibbs Wilde (1827-1884), James Russell Lowell (1819-1891), Thomas Adolphus Trollope (1810-1892), and Bessie Ward (1847-1926), later Elizabeth Ward Schönberg. The second half of the album contains photographs of ancient Egyptian ruins that Dexter, his mother, and several friends visited during a Nile River excursion in 1874-1875. Historical and Biographical Note: Arthur Dexter was born in Boston, Massachusetts in 1830, the fourth son of the influential lawyer and politician Franklin Dexter (1793-1857) and his wife Catherine Elizabeth Prescott (1799-1891). He attended Boston Latin School as a child and graduated from Harvard College in 1851. His studies continued in the architectural studio of Hector Lefuel (1810-1880) at the L’École des Beaux Arts in Paris. In 1855, he was admitted to the Massachusetts bar and entered his family’s law practice at 9 Court Square in Boston. He argued cases with Charles Francis Adams, Jr. (1835-1915) and John Quincy Adams (1833-1894) and dabbled briefly in Republican and progressive politics. In January of 1858, he enlisted in the New England Guard before joining the National Guard where he achieved the rank of Captain. He was honorably discharged from the Guard in March of 1860. Independently wealthy, Arthur Dexter spent much of the 1860s and 1870s in Europe where he devoted himself to the study of the fine arts and belles-lettres. His profession was often cited as “art amateur” and his drawings and paintings were admired by contemporaries. He evinced an interest in photography as early as 1860 and, although it is unknown how or where he acquired his photographic skills, the Four Nineteenth-Century Albums with Photographs by Arthur Dexter attest to his accomplishments in the medium. In these albums, Dexter used his camera to record the ruins and architectural glories of Italy and Egypt as well as an occasional moonlit landscape. But he had a particular affinity for portraiture. Time and again, he documented the appearance of his friends and families, posing them in their environments or in more formal stances. His interest in portraiture as an artistic medium is evident in his photographs of local Italian models, dressed in native costumes; these were clearly intended to be the photographic equivalent of genre paintings. Dexter continued the practice of photography well into the 1890s as can be seen in his published portraits of Henry Jacob Bigelow (1818-1890) and Oliver Wendell Holmes (1809-1894). While in Rome and Paris, Dexter participated in the social life of the American expatriate circle and his name appears in the reminiscences of Henry James (1843-1916), Edith Wharton (1862-1937), William Wetmore Story (1819-1895), Thomas Adolphus Trollope (1810-1892), and others. His brilliance, learning, and connoisseurship were often remarked upon, and, in William Wetmore Story and His Friends, Henry James wrote 3 that Dexter was one of a “small, select company of the bachelors of Boston, a group. almost romantic in their rarity.” Upon his return to the United States, Dexter parlayed his knowledge of the arts into a series of articles on literary and artistic matters for various publications. Perhaps the best known of these is his chapter on “The Fine Arts in Boston” which appeared in Justin Winsor’s The Memorial History of Boston (1880-81). His facility with languages resulted in the translation of Heinrich Heine's Life Told in his Own Words (1893). His artistic leanings were not limited to the erudite, however. A passion for the theater led him to both sides of the stage. Boston theater reviews frequently noted his presence in the front row on opening nights, and his own acting skills were not inconsiderable. The Boston Herald (December 21, 1890) observed that Dexter was an “amateur of extended reputation. He has played many times, and always like an artist.” In the 1880s and 1890s, Dexter was a prominent member of Boston society. As a man of means, he belonged to the Somerset Club, the Myopia Club, and other gentlemen’s associations. However, he was also involved in numerous artistic and charitable organizations, including the St. Botolph’s Club, the Boston Society of Decorative Arts, the Hospital Newspaper Society, and, most extensively, the Farm School for Indigent Boys. Upon his death in January of 1897, the Boston Daily Advertiser made much of his brilliance and “genius,” concluding that “he was, indeed, a man of high mental polish, rare cultivation and excellent conversation.” Page 1: [Arthur Dexter] Photographic print, n.d. Print dimensions: 14.4 x 8.8 cm. Subject: Bust-length, profile portrait of the photographer, Arthur Dexter, wearing spectacles. Page 2: W. W. Story Photographic print, n.d. Print dimensions: 14.5 x 8.8 cm. Photographer’s initials in right of print. Title inscribed in ink under print. Subject: Three-quarters length, frontal portrait of the American sculptor William Wetmore Story (1819-1895). He is seated, wears a velvet jacket and striped trousers, and holds a cigarette or cigar in his right hand. Page 3: Palazzo Pubblico [sic] – Siena Photographic print, ca. 1868 Print dimensions: 16.8 x 11 cm. Title inscribed in graphite under print. 4 Subject: An exterior view of the town hall and the bell tower, Torre del Mangia, in the Palazzo Publico in Siena, Italy. Page 4: Duomo – Orvieto Photographic print, n.d. Print dimensions: 16.3 x 11.6 cm. Title inscribed in graphite below print. Subject: A view of the exterior façade of Orvieto Cathedral in the town of Orvieto in Umbria in central Italy. Page 5: Miss Bessie Ward Photographic print, n.d. Print dimensions: 12.9 x 7.8 cm. Subject: Bust-length, profile portrait of Bessie Ward, born Elizabeth Barker Ward (1847- 1926), later Elizabeth Ward Schönberg. Page 6: St. Maria della Spina – Pisa Photographic print, n.d. Print dimensions: 14.4 x 9 cm. Photographer’s monogram in lower right corner of print. Title inscribed in graphite under print. Subject: The front entrance and side of the Santa Maria della Spina in Pisa, Italy. Page 7: Pisa Photographic print, n.d. Print dimensions: 8.8 x 14.6 cm. Photographer’s monogram in lower left corner of print. Title inscribed in graphite under print. Subject: A view of the Cathedral and Tower of Pisa in Cathedral Square (Piazza del Duomo) in Pisa, Italy. Page 8: Porta S. Lorenzo – Rome. As it was. Photographic print, n.d. Print dimensions: 11 x 15.8 cm. Photographer’s monogram in lower right of print. Title inscribed in graphite under print. Subject: A view of the Porta San Lorenzo, also known as the Porta Tiburtina, in Rome, Italy. 5 Page 9: Portico of Octavius. In the Ghetto. Photographic print, n.d. Print dimensions: 16.9 x 12.2 cm. Title inscribed in graphite under print. Subject: A photograph of the Portico of Octavia in the Roman Ghetto in the Sant’Angelo district of Rome, Italy. Page 10: Baths of Caracalla Photographic print, n.d. Print dimensions: 11.8 x 15.9 cm. Title inscribed in graphite under print. Graphite inscription under title: “as they were before Rossi spoiled them.” Subject: The ruins of the Baths of Caracalla. The inscription probably refers to the excavations of the archaeologist Giovanni Battista de Rossi (1822-1894). Page 11: Caracalla Photographic print, n.d. Print dimensions: 11.4 x 16.5 cm. Title inscribed in graphite under print. Subject: The ruins of the Baths of Caracalla. Page 12: Porta S. Lorenzo (as it was) Photographic print, n.d. Print dimensions: 8.9 x 14..4 cm. Photographer’s monogram in lower left and lower right of print. Title inscribed in graphite under print. Subject: A view of the Porta San Lorenzo, also known as the Porta Tiburtina, in Rome, Italy. Page 13: Spanish Steps Photographic prints, n.d. Print dimensions: 10.6 x 14.9 cm. Title inscribed in graphite under print. Subject: The Spanish Steps in Rome from the Piazza di Spagna looking towards the church Trinità dei Monti. Page 14 (two photographs on one leaf): 6 Polyxena (Story) Photographic print, n.d. Left print dimensions: 13.4 x 8.1 cm. Right print dimensions: 13.2 x 8.2 cm.
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