Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 123

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360

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1140

HISTORY OF KINGS COUNTY.

marble was a bust of Dr. Armsby. While Mr. Hart was painting in Albany, many of his landscapes, which were exhibited in New York City, received warm commendations from the pens of Thurlow Weed, George Jones, of the New York Times, and Hugh Hastings, of the Commercial Advertiser. This was the means of making MIr. Hart's pictures much sought after.

During his residenco in Albany, Thomas Cole, the celebrated landscape-painter, called at his studio, and his kindly criti- cism_gave the young artist great encouragement.

During the existence of the New York "Art Union," Mr. Hart found a ready market for many of his early efforts, which were pleasing in design, and rich in color. They commanded so much attention that the Art Union invariably paid him more for his pictures than he asked.

Mr. Hart married in 1847, and in 1849 he revisited his native land, Scotland, remaining till 1852, and making many studies of Scottish and English scenery. He also profited largely by the study of the best masters, as represented in the art-galleries. On his return home he took a studio at 806 Broadway, N. Y., re. mained there till the Tenth Street Studios were built, and was the first artist who set up his easel in that somewhat famous art- building. Twelve years after, he removed his studio to the Young Men's Christian Association Building, corner of Twenty- third street and Fourth avenue. In 1855, he was made an associate of the New York Academy of Design; in 1857, an academician.

A large number of his early paintings were views on the Hudson, near Albany and Troy. Occasionally he would try his hand at original composition, and endeavor to invest his copies from nature with the spirit of sentiment. In 1847, he painted pictures which he called "Coming from the Mill," and "A Pas- sing Shower." This latter picture placed him among the best landscape painters of the day. In 1854, followed his picture of the " Children at the Spring"; in 1855, "The Gloaming"; and in 1856, "Peace and Plenty." Each of these compositions was based on actual scenes from nature, and infused with much grace and sentiment.

Mr. Hart is a property owner, and has been a resident of Brooklyn for over thirty years. He has given much of his time towards building up art-taste and art-schools in Brooklyn. Ile was the first president (and for three years) of the Brooklyn Academy of Design. While holding that position, he delivered a lecture to the students, entitled "The Field and the Easel." His mode of expressing his knowledge in art was through the medium of illustrations, which he made in the presence of the students with charcoal and chalk. These illustrations as sub- jects of art-instruction had occupied his mind and hand for many evenings at home, and by them he gave the students, within the space of two hours, a knowledge of landscape-effects in light and shade, and form, which would have taken thein years to have observed, and many of them not then, as the sharp oyes of Mr. Hart never let desirable aspects and effects pass without particular attention and discrimination.

Mr. Hart was one of the originators of the " Water Color Se- ciety," and occupied its presidential chair for three successive years. Among the most prominent pictures which he has pro- ducod within the last ten years, may be named "The Octo- ber Afternoon," "Sunday Morning," "The Last Gleam," "Tho Coming Storm," "Apple Blossoms," and " The Gelden Hour."

" Apple Blossoms " is a landscape on a moderate-sized canvas, representing an apple-orchard in full bloom. Nothing but nature itself could have been the foundation of so charming a picture. It is a subject that Mr. Hart could grasp and manage with perfect satisfaction. He is naturally so full of the harmony of color that his spirit is easily aroused to a great effort when his eye sees the tender greens and blushing pinks in inviting con- trasts. " Apple Blossoms " was full of "color-music," and is, indeed, one of Mr. Hart's best efforts.

" The Golden Hour," Mr. Hart thinks his best picture. It is on a large canvas, and represents the summer time, when nature in her landscape-beauty seems to be radiant and complete in glory. The composition has a foreground of rich green with gray rocks, and the late flowers of the season combining in re- lief. The middle distance is composed of groups of stately elms that bend and droop their graceful limbs and feliage in forms that captivate the inind and fill it with the sentiment of contentinent reposing upon the bosom of plenty; the distance with its outlines of hills, as if locked within each other's arms, and in its noon altitude the sun throws down its bright lights, (where intercepted) forming dreamy shadows; the cemposition and effects making a picture that must always command a high place in the constellation of art achievements. This picture was purchased by Mr. A. T. Stewart, and still holds a place in his valuable collection.

In the last two years, Mr. Hart has devoted the most of his time to the study of cattle, deriving therefrom all the interest that their introduction lends to the landscape. His drawing is always good, and he has the faculty of at once grasping the marked features in' cattle-nature, and therefore his cews and his shoep at once command attention, and give a double charm to his landscape pictures.

Several writers have confounded Mr. William Hart and his pictures with his brother, Mr. James Hart. An article, especially, which appeared in Putnam's Magazine, names many of Wil liam Hart's pictures as having been painted by his brether James; and, in one instance, it was stated that James Hart was the painter of "The Golden Hours."

A most commendable feature in William Hart's character A8 a man, is honesty of opinion. It matters not who painted the picture, if it has merit, he sees it, and speaks of it with as much pleasure and pride as if it were his own.

Mr. William Hart still resides in Brooklyn; and, although his y cars now place him on the declining slope of life, yet his enthusiasm for painting is as great as ever.

ALONZO CHAPPELL.

THIS gentleman was born in the City of New York in 1829, his ancestors being old French settlers in that city; his grandparents owning a piece of property (part of the old Delan- cey farm) on the Bowery opposite to the old Bowery Theatre, ex- tending through to Chrystie street. Mr. Chappell's father was born on this spot in 1801, and died in Brooklyn 1880. Old Mrs. Chappell is still living. Alonzo Chappell, the subject of our sketch, lived in New York City until 1845, when he moved to Brooklyn. He was educated in public school No. 2, and at the

age of fourteen, went to learn the japanning business. This he soon left for window-shade painting, which in those days were adorned with all kinds of subjects, and representing landscapes which covered the whole shado. This gave the young aspirant for art a gorgeous opportunity to express form and color The nature of young Chappell was fall of tho dramatic, and, there- fore, startling effects pervaded his designs-cataracts rushing over rocks, dark caves, fallen trees, castles perched high upon the mountain's peak, half enveloped in clouds of romantic form,

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ARTIST BIOGRAPHIES.

and all in good color and light and shade. This was just the business for the boy artist. Shade-painting was a new thing then, and he grew up with it, and became one of the best artists engaged in it.

While so engaged, he turned every hour of his evenings to account by drawing and designing. He had a remarkably crit- ical eye for one so young. When less than seventeen years old he was admitted as a member of the Antique class in the New York National Academy of Design, at the time when the cele- brated engraver and painter, A. B. Durand, was president.

In 1845, when he first moved to Brooklyn, he began to paint landscapes with figures in them for the American Art Union in New York City. These pictures were so attractive in color and composition that they purchased almost every one which he presented. One picture attracted much attention, which repre- sented a boy with the upper part of his body plunged into an ash-barrel, while a dog has nipped him by the seat of his trou- sers. The situation was laughable in the extreme. Leutze, the celebrated artist, was so much pleased with the composition that he purchased the picture, and retained the same in his studio in Düsseldorf until the day of his death.

In 1848 Gabriel Harrison, George Hill, George De Forest, Charles Cormer and several other Brooklyn gentlemen organized the first dramatic society in the city of Brooklyn. Alonzo Chap- pell was one of the most active members. His genius, however, was more in the line of the scenic artist than the dagger and the cup. The old ball-room which stood in the rear of "Mrs. Prest's Hotel" on the grounds of the Military Garden, where now the County Court House stands, was leased, and Chappell became the architect, scenic artist, and decorator. Carpenters were brought in and set to work, up went the dress-circle and away went the floor of the ball-room, with a tremendous gash in it to admit of an under part to the stage, and traps for sinking ghosts and devils-all in accordance with the most approved plans of the regular theatres. When in the midst of this work, in rushed old Mrs. Prest, who soon had her voice ranging to high C, horror-stricken at what was going on, and, with her arms stretched upright, she shrieked, " What in the name of God are you doing ?" "Doing, madame, doing ! why, we are making a place to catch the devils and ghosts in !" shouted back Chappell, while he thrust his lands through his hair and struck a fearful attitude. This was enough; the old woman picked up her skirts and left in six-foot strides, amid the demoniac laugh of the would-be tragedians, who stood in melancholy attitudes around. We saw no more of Mrs. Prest until a committee waited on her to come and see the stage and improvements, and none was more delighted than herself with what had been done, but she added the request that the society would keep the " Chappell man" from coming in contact with her.

In 1849, Mr. Chappell was commissioned to go to Cuba to 1 make sketches for a panorama, which he painted for some gentlemen in New York. He still continued his art-studies, improving constantly until, in 1856, he was introduced to the

book-publishing firm of Martin & Johnson, of New York City, and was engaged by them to make designs for a history of the United States, to be published in monthly parts to the number of four quarto volumes, the illustrations to be engraved on steel. These illustrations he mostly painted in black and white on canvas much larger than the engraving was to be, and repre- sented every prominent incident in the history of the country. Some of his compositions are remarkable for dramatic action, and show knowledge of costumes and other things that be- longed to the period of the time he desired to represent. Their truthfulness reflects as much credit upon him as does his in- dustry in searching out the facts.

After Mr. Chappell had finished the numerous original de- signs for this work, he was immediately commissioned to illus- trate "The Life and Times of Washington," in two volumes. Then followed the "Portrait Gallery," in three volumes, repre- senting the characters in full-length figures ; "The War of the Union," in three volumes; "The History of the World," in three volumes; " The Portrait Gallery of Celebrated Men and Women," in two volumes. At this writing he is engaged in making illus- trations for a voluminous edition of Shakespeare, which is to contain one hundred illustrations, eighty of them now finished. This work will, no doubt, be his master-piece. Mr. Chappell's dramatic disposition fits him most aptly for the undertaking. It is now over twenty-five years since Mr. Chappell first com- menced to design for book publications, and almost every one of his subjects has been engraved in steel. Besides these, he made several designs which were engraved on steel (20x24 inches), representing " Washington at Mount Vernon," "The Last Hours of Lincoln," "Christmas Morning," " Maud Muller," and "The First Prayer."

Mr. Chappell has been a hard worker, and not without profit. Some fourteen years ago he purchased one hundred acres of land near a beautiful lake on Long Island. He christened the place " Artist Lake." Near by, he built himself a picturesque cottage, planted fruit trees, laid out his grounds, and formed his walks with artistic taste, turning what was almost a wilderness into a garden of Eden. Besides, he has a fine library of standard literature, and has made a large collection of works on the his tory of this country, from the landing of Columbus down to the present hour, that is not excelled by any other private collec- tion. No artist ever painted historical pictures with more de- termination to be truthful in the costumes and implements of civil and military life than Alonzo Chappell.

During his residence in Brooklyn, he has always been among the first who have stepped forward to assist art-culture. He helped old Mr. Thompson and Hoskins to forin the Brooklyn Art Union ; he was a member of the Graham Art School; he suggested the first meeting for the formation of the Brooklyn Academy of Design, and was its first vice-president. Always modest and retiring in his manners, he wins the respect and confidence of all with whom he comes in contact.

FRED. T. LEE BOYLE.

H TRED. T. LEE BOYLE was born July 6th, 1820, at Ring- wood, on the Avon, Hampshire, England. His father, J. T. Boyle, a composer and teacher of music, a fine organist and a pupil of the celebrated Vincent Novello, was for many years a resident and teacher of singing and the pianoforte in Brooklyn, where he located in 1829, on Adams, between York and Prospect streets ; the house is still standing. In 1830, young Boyle was sent to Columbia College Grammar School. In 1832, he went to Charles Coudert's boarding school, in an old building that had

once been the State's prison, on the corner of Amos and Wash- ington streets, New York City, but which building Mr. Coudert had somewhat remodeled for school purposes. General Beaure- gard was a pupil in the same class with young Boyle at this time, but left the school to go to West Point.

During his early years, young Boyle gave frequent evidences of a strong talent for art. His apt sketches of almost any act that attracted his attention, caused his father to consult Henry Inman, the celebrated portrait painter, and in 1835, young

1145

HISTORY OF KINGS COUNTY.

Boyle commenced his study with that gentleman. He remained with him for three years. He also attended the art-schools at the New York National Academy of Design, at which time Pro- fessor Morse was the president, and he predicted that young Boyle would make his mark.

In 1839, Mr. Boyle sent a picture to the National Academy for exhibition, which found a good place upon the wall. About this time he made somc notable efforts at composition in oil colors and India ink, among which were "Salvator Rosa Offer- ing a Picture for Sale to a Dealer"; "Job Appealing to God from the Injustice of his Friends"; "Saul and Witch of Endor" ; "Shylock and Antonio"; "Death and the Lady." All of these compositions had merit, and showed a high train of thoughts for what might be termed epic composition. And had Mr. Boyle pursued this style of painting throughout his life, there cannot be a doubt that he would have become an eminent historical painter. In his youth, he was passionately fond of the drama, which, as a matter of course, could not fail to lead him to the highest class of reading, and incite him to dramatic efforts in composition and light and shade.

In 1850, Mr. Boyle painted a life-size full-length portrait of the Rev. John Hughes, of the city of New York, which was exhibited at the National Academy of Design, New York City, and after- wards became the property of the Hon. W. H. Seward. It pro- cured him his election as associate member.

From 1850 to 1856, Mr. Boyle found himself crowded with orders for portraits, both life- and cabinet-size. Among these were those of Bishop De Lancey, Edwin Forrest, Charlotte Cushman, J. R. Scott, William E. Burton, Lester Wallack, Mrs. Russell, James T. Brady and other celebrities. At this time he was engaged with J. Kyle and J. Dallas in painting a panorama of the "Life of Christ," forming thirty-four pictures in fresco colors on canvas, each 11 x 18 feet in size.

In the latter part of 1856, he moved to St. Louis, where he found a wide field for his brush. Art as yet had not lifted her head very high in the Far West, and but few artists of reputation had located themselves in those regions. Mr. Boyle saw this, and at once opened his studio, with the intention of founding a local habitation and a name. It was not long before he painted some of the prominent citizens of St. Louis. Among them were two full-length portraits, one of Frank P. Blair, Gov. R. H. Gamble, Hon. Thomas H. Benton, Col. Brandt, B. Gratz Brown, Dr. William Carr Lanc, Matilda Heron, and several family groups. While thus engaged he made himself busy in an effort to establish "The Western Academy of Arts." This he accom- plished in 1858. He obtained a charter, and its first exhibition was opened by the Prince of Wales and the Duke of Newcastle. The exhibition was one of the finest ever held by American painters, as all of the celebrated artists of the several States sent their best works. From this time, art in the West had an impetus that forced it to grow with unlooked-for power. All the exhibi- tions of the Western Academy were well attended, and many

pictures were sold. But the war came, and fell like an April blight. The brush and the palette were laid aside for the sword and the musket; and the rooms of the Academy, which were wont to be decorated with beautiful landscapes, portraits, and groups of smiling children in golden frames, were now taken for the Department Head-quarters of the soldiers. The walls were soon defaced, and the collection of casts, that were imported from Paris at a cost of fifteen thousand dollars, were defaced, broken, and distributed throughout the West.

No such blood as circulated through the veins of Mr. Boyle, could rest quiet when such a cause as Union and Freedom was the watchword, echoing up and down the streets of the whole North. He would have his say-he made his speeches in favor of the Union-and in 1862 he was elected colonel of a regiment which was formed in the third ward of St. Louis. This action on the part of Mr. Boyle lost for him his best Southern friends and patrons. When the war was over they neither forgave nor for- got. Art was low in the West. Mr. Boyle lingered for some time at St. Louis, received no orders, and finally in 1865 he left the West for Brooklyn. There many old friends welcomed him, and he soon found several portraits to paint. When the Brooklyn Academy of Design left the Brooklyn Institute, and gave up the teaching of the Graham Art Schools, Mr. Boyle was ap- pointed the professor over the classes. In 1873, Colonel Sprague, principal of the Adelphi Academy, called on Mr. Boyle to take charge of an art-department in that institute which they had been trying to form. When he took charge lie found the pupils drawing from some poor lithographs. He soon convinced the faculty of the Adelphi that their system of art-instruction was all wrong; and that if they required anything like success in this department they must build a skylight and give him a proper room, and also furnish plasters for the pupils to work from. These requests were all granted him, and in a few months Mr. Boyle had a large class of pupils, who placed many of their works on exhibition at the Art Association-works which were spoken highly of by visitors and the press. Soon after, he was reap- pointed to take charge of the Graham Art School at the Brooklyn Institute, which position he holds up to the present time. Mr. Boyle is admirably constituted for a teacher. Thoroughly read in all art matters, possessing a remarkable memory, great fluency of speech, with strong descriptive power, he can make his pupils sce and understand what must be done. To these gifts he adds checrfulness of spirit, and a fund of anecdote that draws the pupil near him and inspires him to hard work.

Since he has been a resident of Brooklyn, he has painted ser- eral important pictures, among them "The Prayer of Judith," which was exhibited at the Centennial, "Grandfather's Pet," " The Organist," a life-size full-length portrait of the Hon. Hugh Allen, of the city of Rochester; Col. R. C. Ward, for the Twenty- third Regiment; a half-length of Miss MacCullum, a half length of Mrs. Pickwood, and other pictures of notc.

JOHN ADAMS PARKER.

J OHN ADAMS PARKER, the son of J. A. Parker, an old New York merchant, was born in that city 29th of November, 1829, in Broadway, near Broome street; received his education at the New York University; and when sixteen years old, became a clerk with C. D. W. Lillendale, the sole agent for Faber's pen- cils. In 1855, he went into business for himself, but failed in 1457, and for a year or more was unsettled. It does not appcar that he showed any early predilections for art; while, at the same time, he was a keen observer of nature and pictures, with an occasional attempt at drawing. However, in 1850, Mr.

Parker made up his mind to become a landscape painter, took a studio in the Dodworth Building, Montague street, Brooklyn, and rather surprised himself and his friends at his mpid improvements. When the Brooklyn Art Association be- came a fixed fact, Mr. Parker was among its first exhibitors, and the first picture sold from off its walls was one of bis, purchased by Mr. M. Massey. Hle took a great interest in the Art Association, and was one of the founders of the Brooklyn Art Club. In 1869, he was elected associate member of the National Academy of Design, New York City.

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ARTIST BIOGRAPHIES.

Mr. Parker became one of the most active members of the Brooklyn Art Association. He was on the hanging committee for many years, and it is doubtful if any other member of the association gave more of his time, and worked harder for the success of this institution. This was appreciated, however, as is shown by the fact that he sold at one time more of his works, through the influence of the lay members of the association, than any other artist who placed pictures on exhibition at the Art Association. Among the purchasers of his best works were H. E. Pierrepont, A. A. Low, Judge McCue, Judge Reynolds, Dr. Keep, W. Husted, Henry Sanger, William Howard, and many others.

Perhaps the best pictures that Mr. Parker paints are snow-

scenes. He is fond of representing the evening hours of the day, when the sun is far below the horizon and shoots its golden beams stretching across the picture, while all the fore- ground lies in that first gloom of twilight, lending a peculiar repose to the picture that fails not to interest almost any mind. His style is not one of finish, but rather inclined to breadth of touch, and has a tendency more to the suggestion of things in nature than to the details. Mr. Parker has resided and painted in Brooklyn ever since he first took up the bruslı, and can justly be considered as a Brooklyn artist, whose interest in Brooklyn's art-progress has never lagged from the moment he first adjusted his easel to receive his first canvas. His pictures will always find a welcome place in all good collections.

WILLIAM M. BROWN

W AS a native of Troy, N. Y. At fourteen years of age, he entered the employment of Thomas Grinnell, an ornamental painter; showed considerable talent, and made rapid improvement in his business. But, taking a fancy to por- trait painting at sixteen years, he found his way into the studio of a portrait painter of some note, and studied with him for one year. He found, however, that his talent was more decidedly on the side of landscape-painting, and again returned to his old master, the ornamental painter, and went from Troy with him and his family to Newark, N. J., with whom he re- mained until he was nineteen years of age. While with Mr. Grinnell, he took every opportunity to practice landscape paint- ing. His pictures were so pleasing in effects of composition and color, that they were no sooner placed on public exhibition than they found purchasers. This caused Mr. Brown to give up other painting, and follow that of landscape only. He then came to Brooklyn, and for a time had his studio in the Dodworth Building, on Montague street. In 1860, he painted the well- known picture entitled "The Overturned Basket of Peaches," which at once made him a reputation as a fruit-painter, a branchi of art which he has allowed to occupy much of his time. His fruit-pictures are among the best ever painted by an American artist, and must always occupy a very high position as still-life pictures. Nevertheless, he has continued to improve in land- scape-painting, until he may be placed among the best land- scape-painters of the country. He is more inclined to the de- tails in nature than to dramatic effects of light and shade. His color is always good, and his compositions, whether in fruit pieces or landscapes, always graceful and engaging to the eye.

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Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 123

Author: Stiles, Henry Reed, 1832-1909. Publication date: 1884 Publisher: New York : Munsell Number of Pages: 1360

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360