Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 124

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

USA > New York > Kings County > Brooklyn > Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y. > Part 124

Note: The text from this book was generated using artificial intelligence so there may be some errors. The full pages can be found on Archive.org (link on the Part 1 page).

Mr. Brown has resided in Brooklyn nearly thirty years, and has been a member of almost every art-association in the city of his residence. He is an extremely modest man, who never has much to say about himself; but who has a quick eye for the merits of other artists, and the nobility of character to praise their works.

A. H. RITCHIE

W AS born in Scotland, but has been a resident of the United States for many years, and of the city of Brooklyn for over thirty years. He ranks with the best engravers in the country; and has also found time to pay attention to portrait- painting, having produced several pictures of merit. His likenesses are always good, and the flesh-coloring is up to the key-note of his subject.

He has painted but one picture of any great note, and this picture is of historical value. It represents " The Death-Bed of Abraham Lincoln," surrounded by twenty-seven figures, each one representing some notable character connected with the his- tory of the Rebellion. There is no subject in the history of the whole country more difficult to manage with graceful and agree- able lines and grouping than this. Neither the locale nor the cos- tume of the dramatis personæ afford any opportunity for artis- tic effects. The picture is remarkable for the correct likenesses of all the persons represented therein. Mr. Ritchie invented nothing. He has not in the slightest called on the imagination for anything. Every person is placed in the attitude and situa- tion in the room as he had when the tragic scene occurred. In exactness it is equal to a photograph; even the threadbare carpet is painted with wonderful care. As the country grows older, the more valuable must this picture become in a historical point of view.

Mr. Ritchie still owns this picture, at his residence in Brook- lyn. It should be in the Capitol at Washington, where it proper- ly belongs.

No other artist has taken a greater interest in the progress of art in Brooklyn than Mr. Ritchie. During all the early strug- gles of the Brooklyn Academy of Design, he constantly and liberally assisted as teacher, as officer, and as donor. A fuller account of his efforts to build up art tastes in Brook- lyn is given, on a previous page, in our sketch of the Academy.

CHARLES C. MARKHAM.

PERHAPS no artist is better known in the City of Brooklyn than this gentleman. He can, in the fullest sense, be looked ipon as a Brooklyn artist, since the whole of his art-experi- ence has been in this city. He has not been one of those rtists who hung out his sign for two or three years, and hen found it necessary to have his studio in New York City. He itched his art-tent in Brooklyn and bravely maintained its po- ition; making many friends, and working up a business in

portrait, figure, and landscape-painting, of which he has every cause to feel proud.

He was born at Burlington, Vt., in 1837, and when quite a boy, was inspired by the beautiful scenery that surrounded him. With his dog and gun he would spend whole days, dividing his time between hunting for game and for those finest bits of scen- ery whose forms and effects so satisfied the art-passions latent within him. His father, believing that the city of New York

1150

HISTORY OF KINGS COUNTY.

would better develop his boys for the battle of life, removed thither, and Charles soon found employment in a wholesale house. While here, he found time to use his peneil. His em- ployers saw his efforts, and offered to place him under instruc- tion. Through false delicacy, however, he refused the noble offer. But his love for art was so great that he would take the early morning, and look about the old locations of the city, sketching old houses, huts, nnd pumps, or whatever else at- tracted his attention. By and by, he found a position in the American Exchange Bank, where he became mueh trusted and valued. At last, eame a panic, and with it the abolishment of the "nneurrent department " of the American Exchange Bank. He was offered other responsible positions, but refused them all, in order to take up art as a profession.

He was not the first member of his family that gave evidence of art talent. His grand-aunt, Miss Fanny Porter, was an artist of inuch ability; and his aunt, Mrs. Bigelow, was a sueeessful portrait painter. From her he took his first lessons in portrait painting, and from that time he constantly improved, and soon had plenty of orders. Among his first efforts, we may enum- erate the portraits of the children of Wm. C. Kingsley, the portraits of W. H. Hazzard, Albert Ammerman, Charles Vail, and Horaee Greeley. He painted a portrait of his grandmother which was honored with a place at the Centennial Exposition. Many of

his fancy pictures, landseapes, and figures have been pur- ehased by Mr. Kingsley, F. S. Smith, F. S. Street, Demas Barnes, and other prominent citizens of Brooklyn, and now adorn their private collections. His picture of the " Farm Yard " was purchased by Joseph HI. Patten; his " Dreamland" by Dr. Joseph Brown.

Mr. Markham has never lost his great love for out-door sports, Every summer he finds his way to the Adirondacks, and there with gun and dogs and fishing-rod, he leaves his traeks, which many a sportsman is only too glad to follow, for he knows how to take game of every kind. And to the old sportsmen of these great forests and lakes, the name of Markham is as familiar as is the hum of the winds through the trees, or the splashings of the waters as they leap over the rocky ribs of the hillside.

He has also been very fond of military exereise, and has always been one of the pieked men for exhibition drills. When the Rebellion broke out, he went with the Thirteenth Regiment of Brooklyn to the front, and while there he was detailed by the colonel to sketeh eertain localities. He also was a correspondent of the Brooklyn Eagle, using the nom de plume of "Knap- sack," and therein wrote pleasant and graphie deseriptions of the incidents of eamp life and the war.

Mr. Markham is still a resident of Brooklyn, and still follows his profession with ardent devotion.

JAMES NORTHCOTE.

T HIS gentleman was born in Hammerton, a suburb of Lon- don, in 1827, eame to the United States in 1856, and at once took up his residenee in the city of Brooklyn, where he has remained ever since in the constant praetiee of landseape- painting. Mr. Northeote eame from a family that had for many years been eonneeted with the fine arts. He was related on his father's side to James Northeote, the celebrated historical painter. At quite an early age young James gave evidence of art-talent, which, however, his father had no desire to encourage, and placed him at the desk of the Paisley Shawl Company. After remaining here for about four years, he fully determined to devote the rest of his life to the study of art. lle soon found employment as an assistant seene-painter, and for eight years he found employment in the Drury Lane and Surrey Theatres in London, and in many of the minor theatres of southern England. While in London, ho received valuable hints from such clever

artists as Philip Phillips, Louis Haag, and the celebrated Stand- field. After he quit the theatre, he frequently took long trips into the country, and made careful studies, selling many of his more hasty sketehes as he went along, but reserving his more finished sketehes for the London market.

Mr. Northeote having read much about America, had a great desire to see this eountry, and could not rest until he set sail for the land of liberty. For many years he has been constantly em- ployed in painting landscapes for the trade. This is to be regretted, for the reason that Mr. Northeote had too mueh native talent for landscape painting to waste his time on pictures painted to eateh the eye, and not the sense of reason, and art in its higher grade.

When Mr. Northcote paints a pieture to suit himself, he pro- duees a landscape full of eharming color, and at times shows a handling that is worthy of high consideration.

BENJAMIN LANDER,

A RTIST, of No. 1354 Bergen street, has been identified with most of the prominent art-enterprises of Brooklyn. He wields the pencil, the pen, and the eteher's point with equal facility and graco. Ile has been secretary of the Seratch- ers' Club ((tehers), vice-president of the Brooklyn Art Club, president of tho Brooklyn Art Guild, and a member of tho Brush and Palette Club. He has been a frequent exhibitor at the Na- tional Academy of Design, and the leading art societies of tho

Unitod States and of Europe, and a welcome contributor to the leading illustrated magazines of New York and Boston. His principal published works aro, "From an Unknown Shore," "Among the Daisies," " Through the Trees," "The Pasture." " Along Shore," and the etehed portraits of the Inte William E. Dodge, the Revs. Dr. R. S. Storrs and Theodore Cuyler, D.D The Brooklyn Advance has frequently been enriched by his gracetul sketehes of old Brooklyn housos, ote.

THOMAS MARTIN JENSEN

W AS born May 20th, 1831, in a small seaport town in the duchy of Schleswig, at one time a part of the Danish dominions. His father was a manufacturer of fancy trim- mings for military coats. At an early age, Thomas was sent to one of the government schools. At sixteen, he lett the school, and about this time his father died, and the boy found it neces- sary to devoto all his energies to the support of his widowed inother. Throughout his early boyhood he had an ambition to be an artist, and received a few lessons from his elder brother. What he did in the way of drawing and painting gave evidence of marked talent, and on his father's death ho fully determined

to study the fine arts. He soon found employment as a house- painter and frescoer in the town of lladerleben, an old town in Denmark. Here, for five years, he labored from sunrise till late at night, and frequently on Sundays, that he might be able t fulfill his duty to his mother, and supply her wants. But nothing daunted his ambition to become an artist of distin tion

In 1818, the war between Germany and Denmark filled Schles wig with soldiers, and many of them desirons of having then portraits painted. Young Jensen turnod his brush to its best account by assisting his employer, who allowed him extra pay It was now that portrait-painting attracted his attention so fully

1151

BIOGRAPHY OF GABRIEL HARRISON.

that he was determined to improve in that branch of art. In 1852, he found his way to Copenhagen, and there he studied for awhile, and then concluded to go to Frysenburg, the castle-seat of the Count Frys, and assisted his old master to re-decorate the church on the county estate. In those old churches in that part of Europe may be found memorial tablets, in the form of por- traits, set in richly-carved oaken frames, and frequently they become so worn and obliterated that new copies are made to take their place. Mr. Jensen was so successful in restoring some of these old pictures that he drew the special attention of the Countess, who, on learning the story and hardships of his life, gave him employment for several months, and, at the conclusion of his work, presented him with a handsome sum to assist him in his studies when he returned to Copenhagen. There he soon gained his way into the Museum Art School, and not only carried off several prize medals, but received a part of the government allowance for the encouragement of artists in the pursuit of their studies.

The Countess still continued to assist him, and often would chide him for not allowing her to assist him more liberally. However, she was the means of his visiting Berlin, Dresden, Paris, Belgium, and other great art centres, where he remained and studied till the war of 1863, which resulted in Prussia wrest- ing Schleswig from Denmark. He then went to Kiel, one of the chief and important seaports of the duchy of Holstein. Here he found plenty of art-food to advance his ambition : a splendid library of 80,000 volumes, a fine collection of antiquities, a gal- ery containing some of the best works of art, casts of the Elgin marbles, and many of Thorwaldsen's best productions. While

here in the lap of art he was married to a lady residing in Fleus- burg. Soon after this he decided to visit the United States, and arrived in New York in the spring of 1869. He at once found employment in assisting an old friend to paint marine views. While so engaged, the pilots about South street soon discovered that he could paint portraits, and then followed many an order from these toilers of the sea. The first important portrait he painted in this country was of General C. F. Christensen, who introduced him to Mr. Brockett and Miss Thurston, of whom he made fine pictures. In the spring of 1870 Mr. Jensen took up his residence and studio in Brooklyn, where he has since re- mained, and where he has painted more portraits of notable citizens than any other artist in the city. Among these may be mentioned Judge Dikeman, Judge Lott, Judge McCue, Judge Neilson, Judge Gilbert, Judge Troy, Bishop Loughlin, Father Burke, Mayor Schroeder, Mayor Howell, Hugh Mclaughlin, Rev. Dr. Cuyler, Judge H. W. Robinson, of New York, Manager Augustine Daly, Hon. John K. Porter and Morris K. Jessup.

Of his ideal pictures, "Reveries of the Past," "The Old Forge," "Now Is My Chance," Christmas Eve," and the " Con- noisseur." All of the above pictures found their place upon the walls of the Brooklyn Art Association, and the New York Acad- emy of Design.

Mr. Jensen's style of painting is the vigorous German school, strong in color and positive in touch. His likenesses are unmis- takable, while the surroundings in his pictures, such as drapery, chairs, books, etc., are most truthfully depicted. His works of art are full of his own characteristics, and are possessed of suffi- cient merit to claim the admiration of the most careful critic.

GABRIEL HARRISON.

A S biography is the parterre of history, many will regret that due space cannot here be given to the talented gentleman who is the subject of this sketch; for not only has he contributed argely to the devellopment of Art in this city, but his name is ndelibly traced upon some of the most interesting pages of Brooklyn history. Gabriel Harrison was born in Philadelphia, Iarch 25, 1818. When he was six years old, his father, Charles O. Harrison, a man of classical education, and a bank-note ngraver, moved to New York City. Here his hospitable man- ion soon became the favorite social resort of the litterati and the eading artists of the city. Among frequent guests were George . Morris, N. P. Willis, McDonald Clarke, the "mad poet," M. M. Joah, the dramatist, Rev. John Frederick Schroeder, Bass Otis, Ienry Truman, Col. John Trumbull, John Howard Payne, James audubon, the ornithologist; Bishop Hughes; and the celebrated panish philosopher, Father Varela.

When Malibran came to this country in 1825, she spent much f her time at the Harrison home, where little " Gabe," then even years of age, became her especial pet. She joined in his hildish romps with great delight, and won his life-long friend- hip. His favorite employment at that time, was to creep under le piano while she was practicing, and mischievously remove er slipper. This was sure to result in a sham battle in which lalibran was defeated, while the youthful victor carried off the turel and the slipper. He was a child of great precocity and bensibility, and his whole eventful life has been illuminated by le friendship of some of the most remarkable men and women f the time.

Not far from his father's house in Reade street, near Broadway, where Stewart's store now stands), lived a man whose name inseparably linked with one of the most tragic events in the inals of our Republic-Aaron Burr, who occupied the lower Dartments in the house of Mr. Proudhomme, the well-known igraver. Here he was surrounded by books and pictures, and

upon the wall hung the portrait of his daughter Theodosia, whose death deprived him of his only object in life, and severed his last of human ties. The boy Harrison had often seen this white-haired man sitting at his open window. His sad, worn face won the boy's sympathy. One day, as he passed the window, the old gentleman sat with his head resting upon his hand. The boy, timidly approaching him, said, "Can I do anything for you, sir ?" The man started, wiped away the tears which were in his eyes, and asked the boy to " come in." Thus it was that, between the boy of eleven years and the man whom the world had deserted, a strange intimacy sprang up. The boy became fond of the old gentleman, who in his turn showed his liking for the youth by giving him lessons in reading. On one occasion, when reading to the child about the battle of Tippe- canoe, wherein it was stated that General Harrison killed the Indian Chief Tecumseh, he corrected the statement by saying that it was Col. Richard M. Johnson, who had killed the great chief. Young Harrison was devoted to his teacher, ran on all his errands, and took to him many a cup of tea and plate of toast from his mother's table, not aware at that time that he was Col. Burr, the man of inordinate ambition. Burr's smoothness of tone and beauty of reading completely won young Gabriel's admiration, and developed in the child the taste for elocution which, in after years, has made him so eminently successful as a teacher of the art.

His grandfather, William Harrison, was born in London. He was a bank-note engraver to the Bank of England, and map-en- graver to the East India Company. In 1782, the State Bank of Pennsylvania wrote to the Bank of London, requesting that a first-class engraver be sent to Philadelphia, to engrave some bank-note plates. He came, and, at the expiration of six months, hastened back to England for his Family, and returned with them to Philadelphia, where he spent the remainder of his life. He educated all his sons in the art of engraving. Charles

1152

HISTORY OF KINGS COUNTY.

P. Harrison, the father of Gabriel Harrison, engraved a portrait of Queen Victoria, shortly after her coronation, upon a copper- plate, within the circumference of a sixpence, around the edge of which was the Lord's prayer in Roman capitals. When seen by the naked eye, it appeared like a hair line, and the wonderful work of art could be appreciated only when viewed through a magnifying-glass. The portrait was excellent, and the Quecn was so pleased with it that her secretaryconveyed her thanks to the artist. Gabriel Harrison's maternal grandfather, whose name was Foster, wove the coronation robes of George III. His cousin, David R. Harrison, now nearly ninety years of age, is still employed by the Bank Note Company of New York, and was, also, a fine organist, of whom Gottschalk once said that he was one of the finest sight-readers of music he had ever met. Gabriel Harrison's sisters were all fine musicians, especially Lucretia, afterwards wife of A. J. Morales, senior Professor of Spanish Literature and Belles-Lettres in New York College. She was for many years prima donna and organist at Christ Church, and also the Church of the Transfiguration in New York. MIr. and Mrs. Morales were the first to introduce, into the church, masses arranged to operatic and classic music. Ilis brother Lafayette Harrison, built Irving Hall, in New York, and he may truly be called the father of concert-music in New York City. Parepa was indebted to him for placing her in her proper posi- tion before the American people, and, as an evidence of grati- tude, gave him her miniature beautifully set in gold.

In 1832, John Howard Payne, the dramatist, and author of "'Home, Sweet Home," was a frequent guest at Charles P. Harri- son's house. One night, Gabriel accompanied his father and Mr. Payne to the Park Theatre in New York, to see Edwin Forrest in the character of Damon. It was on that occasion that the young elocutionist was fired with the spirit of dramitic art, and determined to study for the stage. He became an active member of the American Histrionic Society, and, notwithstanding his extreme youth, was well-known as one of the leading amateurs. Soon after his admission to the society, he was en- trusted with the part of Gypsy Mike in the drama of "Luke the Laborer." This was generally supposed to be a minor part, but the young actor, considering all the parts important, de- veloped his so thoroughly that Gypsy Mike became the hero of the evening. Soon after, he appeared in the character of St. Pierre, in Knowles' play of "The Wife." The play was repro- duced by him on this night for the first time in this country. The performance was full of spirit, and the young actor's con- ception of the character of St. Pierre " was remarkable." In 1838, he performed the part of Rolla at the Ilistrionic Society. Major Norton, of the 'Texan Ariny, was so impressed with his powerful acting on that occasion, that he immediately called upon Mr. Wallack, then manager of the National Theatre, and induced him to invite young Harrison to make his debut, which accordingly took place in November of that year. He appeared on that occasion as Othello, with the celebrated Wallack as "Iago," and Emma Wheatley as " Desdemona;" went through the per- formance to the entire satisfaction of his audience, and was cn- dorsed by a most enthusiastic recall, at the close of the last act. The press spoke in favorable terins of his ability, and he was nt once engaged as one of the leading actors for the Avon Theatre, Norfolk, Virginia, managed by Mr. George Jones, afterwards known as the Count Joannes. Mr. Jones, however, failed to havo his theatre in readiness at the appointed time, and Mr. Harrison wisely decided to return to New York.

Keenly appreciating the beauties of all art, he found it diffi- cult to confine himself exclusively to the dramatic profession, and from early boyhood had devoted much time to landscape- painting. Thoroughly earnest in every undertaking, he possessed the spirit and enthusiasm which are necessary to plan and exeente noble things.

In 1839, Daguerre lud given to the world tho secret of his dis- covery. Two years later, Mr. Harrison, charined with the inys-

terious and beautiful art, became one of its most preminent exponents, and by his earnest research contributed much to its constantly widening resources. The admirable tone which he succeeded in producing in his pictures, won from M. Daguerre, the inventor of the art, his warmest praise. Mr. Harrisen's pic- tures took several gold medals at the American Institute for his employer, John Plum. In 1851, he produced the cluster of pic- tures that took a bronze medal at the Crystal Palace, Londen, and also another bronze medal at the " World's Fair," New York, 1853. These pictures were made for Martin M. Lawrence, for whom he made many experiments. Some of the pictures were taken on sheets of silver, 14 x 18 inches, the largest ever known to be taken. For these he had " coating boxes " and " buffing wheels " made to accommodate the extra size of the plates. Mr. Harrison was the first and only artist who ever produced allego- rical pictures through the photographic art. One of these rep- resented the " Past, Present and Future," the grouping ef three female figures after the manner of Malbone's great miniature of " The Hours."

Mr. Harrison's generosity and nobleness of character have ever been seen in his candid estimate of other men's good quali- ties and virtues. In 1842, while passing Trinity churchyard, his attention was attracted to a pile of bricks, which had been erected to mark the grave of Commodore Lawrence. Finding that the tablet of record had fallen from the bricks, and was buried beneath the sod, he resolved that a fitting menument should be erected to mark the spot where the brave hero sleeps, whose dying words were: " Don't give up the ship." He at ence called the attention of the Board of Aldermen to the neglected tomb of Lawrence, and urged that measures be taken to adern it with a fitting monument. He then went to Albany, where be enlisted the sympathies of Governor William C. Bouck in the enterprise. In a short time be had organized a committee to

take the matter in hand, consisting of the Governor ef the State as president, and ex-Lieut .- Governor Luther Bradish, William Cullen Bryant, N. P. Willis, Horace Greeley, General George P. Morris, General Thomas L. Cummings and others. Mr. Harrison set himself to the task of painting pictures of the battles feught by Lawrence, the sale of which was to swell the funds fer the proposed monument. He finished his first picture, representing the battle between the " Wasp and Frolic." It was placed on exhibition in New York, and received universal praise. It was sent to John Sartain, the celebrated engraver of Philadelphia, to be engraved in the finest style of mezzo-tint. By this time, however, the Trinity Church vestry, seeing that they were cen- sured by the public for allowing the tomb of Lawrence to fall to decay, took the matter in hand, and offered to put up a handsome monument. The Harrison committee therefore decided to take no further action in the matter. The new monument was soon completed; but few are aware of the fact that it was to the spir- ited efforts of Gabriel Harrison the publie is indebted for the monument that now stands in front of Trinity Church, in honor of Commodore Lawrence and Lieutenant James Ludlow

Need help finding more records? Try our genealogical records directory which has more than 1 million sources to help you more easily locate the available records.

Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 124

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