The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 123

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345

USA > New York > Kings County > Brooklyn > The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II > Part 123

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In 1849, Mr. Chappell was commissioned to go to Cuba to 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 form 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.

PARED. 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 snd tescher 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

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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 some 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 aod 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 Lane, 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 ssy-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 he 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 & 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 resp- 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, grest fluency of speech, with strong descriptive power, he can make his pupils see and understand what must be done. To these gitts he adds cheerfulness 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 sev- 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, & half-length of Mrs. Piokwood, and other pictures of note.

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 1857, and for a year or more was unsettled. It does not appear 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 1859, Mr.

Parker made up his mind to become a landscape painter, took a studio in the Dodworth Building, Montagne street, Brooklyn, and rather surprised himself and his friends at his rapid improvements. When the Brooklyn Art Association he- came a fixed fact, Mr. Parker was among its first exhibitors, and the first picture sold from off its walls was one of his, purchased by Mr. M. Massey. He 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 brush, 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

WAS 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- trsit 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 hia 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 branch 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- taile in nature than to dramatic effects of light and shade. His color ia always good, and his compositions, whether in fruit pieces or landscapes, always graceful and engaging to the eye.

Mr. Brown has resided in Brooklyn nearly thirty years, and has been a member of almost every art-association in the city of hie 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 personce 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 upon as & Brooklyn artist, since the whole of his art-experi- ence has been in this city. He has not been one of those artists who hung out his sign for two or three years, and then found it necessary to have his studio in New York City. He pitched his art-tent in Brooklyn and bravely maintained its po- sition; 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

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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 pencil. 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, and pumps, or whatever else at- tracted his attention. By and by, he found a position in the American Exchange Bank, where he became much trusted and valued. At last, came a panic, and with it the abolishment of the "uncurrent 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 much ability; and his aunt, Mrs. Bigelow, was a successful 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 Horace Greeley. He painted a portrait of his grandmother which was honored with a place at the Centennial Exposition. Many of

his fancy pictures, landscapes, and figures have been pur- chased 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 Ysrd" was purchased by Joseph H. 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 thers with gun and dogs and fishing-rod, he leaves his tracks, 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 thsss 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 exercise, and has always been one of the picked 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 sketch certain localities. He also was & correspondent of the Brooklyn Eagle, using the nom de plume of "Knsp- sack," and therein wrote pleasant and graphic descriptions of the incidents of camp life and the war.

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

JAMES NORTHCOTE.

THIS gentleman was born in Hammerton, a suburb of Lon- don, in 1827, came to the United States in 1856, and at once took up his residence in the city of Brooklyn, where he has remained ever since in the constant practice of landscape- painting. Mr. Northcote came from a family that had for many years been connected with the fine arts. He was related on his father's side to James Northcote, 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. He soon found employment as an assistant scene-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, he received valuable hints from such clever

artists as Philip Phillips, Louis Haag, and the celsbrsted 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 sketches as he went along, but reserving his mers finished sketches for the London market.

Mr. Northcote having read much about Americs, had a great desire to see this country, and could not rest until he set sail for the land of liberty. For many years he has heen constantly em- ployed in painting landscapes for the trade. This is to bs regretted, for the reason that Mr. Northcote had too much nstivs talent for landscape painting to waste his time on pictures painted to catch the eye, and not the sense of reason, and art in its higher grade.

When Mr. Northcote paints a picture to suit himself, he pro- duces a landscape full of charming color, and at times shows & 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 etcher's point with equal facility and grace. He has been secretary of the Scratch- ers' Club (etchers), vice-president of the Brooklyn Art Club, president of the Brooklyn Art Guild, and a member of the Brush and Palette Club. He has been a frequent exhibitor at the Na- tional Academy of Design, and the leading art societies of the

United States and of Europe, and a welcome contributor to the leading illustrated magazines of New York and Boston. His principal published works are, "From an Unknown Shors," " Among the Daisies," "Through the Trees," "The Pasturs," "Along Shore," and the etched portraits of the late William E. Dodge, the Revs. Dr. R. S. Storrs and Theodore Cuyler, D.D. The Brooklyn Advance has frequently been enriched by his graceful sketches of old Brooklyn houses, etc.

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 left the sohool, and about this time his father died, and the boy found it neces- sary to devote all his energies to the support of his widowed mother. 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 he fully determined

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

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The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 123

Author: Stiles, Henry Reed, 1832-1909, ed Publication date: 1884 Publisher: New York, W. W. Munsell & Co Number of Pages: 1345

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345