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 124

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 124

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In 1848, the war between Germany and Denmark filled Schles- wig with soldiers, and many of them desirous of having their portraits painted. Young Jensen turned 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 swhile, 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, sst in riohly-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 chids 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- lery 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 largely to the dsvellopment of Art in this city, but his name is indelibly traced upon some of the most interesting pages of Brooklyn history. Gabriel Harrison was born in Philadelphia, March 25, 1818. When he was six years old, his father, Charles P. Harrison, a man of classical education, and a bank-note engraver, moved to New York City. Here his hospitable man- sion soon became the favorite social resort of the litterati and the leading srtiets of the city. Among frequent guests were George P. Morris, N. P. Willis, McDonald Clarke, the "mad poet," M. M. Noah, the dramatiet, Rev. John Frederick Schroeder, Bass Otis, Henry Truman, Col. John Trumbull, John Howard Payne, James Andubon, the ornithologist; Bishop Hughes; and the celebrated Spanish philosopher, Father Varela.

When Malibran came to this country in 1825, she spent much of her time at the Harrison home, where little " Gabe," then seven years of age, became her especial pet. She joined in his childish rompe with great delight, and won his life-long friend- ship. His favorite employment at that time, was to creep under the piano while she was practicing, and mischievously remove her slipper. This was sure to result in a sham battle in which Malibran was defeated, while the youthful victor carried off the Isurel and the slipper. He was a child of great precocity and esnsibility, and his whole eventful life has been illuminated by the friendship of some of the most remarkable men and women of 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 is inseparably linked with one of the most tragic events in the annale of our Republic-Aaron Burr, who occupied the lower apartments in the house of Mr. Proudhomme, the well-known engraver. 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- plata, 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 Queen 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. Mr. and Mrs. Morales were the first to introduce, into the church, masses arranged to operatic and classic music. His 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 har 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 Histrionic Society. Major Norton, of the Texan Army, 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. Ha 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 an- dorsed by a most enthusiastic recall, at the close of the last act. The press spoke in favorable terms of his ability, and he was at 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 have 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 confina 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 execute noble things.

In 1839, Daguerre had given to the world the secret of his dis- covery. Two years later, Mr. Harrison, charmed with the mys-

terious and beautiful art, became one of its most prominent 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. Harrison'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, London, 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 wers taken on sheets of silver, 14 x 18 inches, the largest ever known to be taken. For thess 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 of three female figures after the manner of Malbone's great miniatura 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 Lawrencs. Finding that the tablet of record had fallen from the bricks, and was buried beneath the sod, he resolved that a fitting monument should be erected to mark the spot where the brave hero sleeps, whose dying words were: " Don't give up the ship." He at once called the attention of the Board of Aldermen to the neglected tomb of Lawrence, and urged that measures be taken to adorn it with a fitting monument. He then went to Albany, where ha enlisted the sympathies of Governor William C. Bonck in the enterprise. In a short time he had organized a committee to take the matter in hand, consisting of the Governor of the State as president, and ex-Lieut .- Governor Luther Bradiah, 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 fought by Lawrence, the sale of which was to swell the funds for 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 praiss. 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 taka 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 public is indebted for the monument that now stands in front of Trinity Church, in honor of Commodore Lawrence and Lieutenant James Ludlow.

Mr. Harrison, when quite young, evinced a strong disposition for politics, and was attached to the Democratic party. In 1844, he was elected the president of the White Eagle Club of New York, and did much towards the election of Polk and Dallas. In 1848 he, with many other discontented Democrats, went to the Philadelphia Convention, which nominated Lewis Cass for Presi- dent; but as this convention adopted a platform tainted with slavery, Mr. Harrison and many of the best Democrats returned home, determined not to support it. John Van Buren becama the leader of the new party, which organized in strong opposi- tion to the introduction of slavery into the Territories. A meat- ing of the best Democrats was called to take the matter into consideration, and Harrison, Dr. John Gray, and R. A. Sandy were sent there to represent the XIVth Ward. At this meeting, Mr. Harrison made a telling speech against the Caas platform, and here ha unfurled a banner, on which was inacribed "Free

GABRIEL HARRISON.

Author of The Life of John Howard Payne, and the drama of The Scarlet Letter"

1153

BIOGRAPHY OF GABRIEL HARRISON.

Soil, Free Speech, and Free Men." The words became the motto of the Free Soil party through the campaign of 1848. Mr. Har- rison was ons of the delegates to the Utica Convention. He there declared that slavery must be considered a national crime, so long as the District of Columbia recognized and allowed the in- stitution to exist at the Capitol of the nation, which was the oase at that time. This was a new thought; the anti-slavery element of the country, and many members of Congress, at once took up the new key-note, and in a short time the institution of slavery was abolished in the District of Columbia. On Mr. Harrison's return from Utica, he was elected president of the " XIVth Ward Fres Soil League." He was also appointed chairman of the committee to get up the grand ratification meeting, June 6th, 1848, which took place in the City Hall Park. Mr. Harrison's league was out in full force, bearing a banner, designed and painted by him, emblematic of Liberty cutting the chains from the hands of a slave. During the Rebellion, Mr. Harrison was active on the side of freedom, and made strong speeches in New York and Brooklyn. He has since remained a staunch Republican.

In 1845, Mr. Harrison became a member of the Park Theatre Company, New York, making his first appearance in the char- acter of the Prince, in "Romeo and Juliet," in one of Mr. Charles Kean's Shakespearean revivals. He also supported Kean in such characters as the King, in " Hamlet," and he performed this part so much to Mr. Kean's satisfaction that the great actor presented him with a " dress sword." In 1848 he first appeared in Brooklyn Garden, and performed with great success in such charactera as St. Pierre, Claude Melnotte, Carwin, Ludovico, Rolla and William Tell ; becoming at once such a favorite in Brook- lyn that his friends and admirers induced him to make a per- manent residence among them.

In 1851, he organized the Brooklyn Dramatic Academy, a pri- vate association for the encouragement of the drama in Brook- lyn. For several years the society gave performances to select audiences, at the Brooklyn Museum, with Mr. Harrison gener- ally representing the leading character. Three years later came "hard times," and many of the actors being out of employment, Mr. Harrison engaged the Masonic Hall at Paterson, N. J., con- verted the large rooms into a theatre, and organized a fine com- pany, among whom was the celebrated Lysander Thompson. This company performed for several weeks; but as every ons felt the "hard times," it was impossible that any such effort should, at that time, prove a financial success. But the leading citizens, admiring Mr. Harrison as an actor and a gentleman, tendered him a complimentary testimonial, which waa given, the result amounting to a handsome sum. But an account of the suffering of the poorer classes of Paterson had reached his ears, and he at once offered the result of his benefit to the Committee of Relief. To his astonish- ment, the money was refused, on the ground that it was "de- rived from a theatre." When this fact became known the press took the matter in hand, and the money was placed in the hands of an independent committee, who purchased flour and coal for the hungry and cold. When Mr. Harrison left the place, several members of the Common Council, with a number of citizens, at- tended him to the depot to bid him good-by. In 1859, he be- came the lesses and manager of the Adelphia Theatre, Troy, N. Y., where, both as manager and actor, he gave the greatest satisfaction. While manager of the theatre, he played a large number of the best stars, and placed his pieces upon the stage with great extravagance of scenic effect. After two seasons of variable success, financially, he was tendered a grand compli- mentary benefit by the leading citizens of Troy, among whom were General John E. Wool, with his staff, and the Mayor of the city. Every seat in the house was sold the day before the per- formance, in which Mr. Harrison appeared in his favorite ohar- acter of St. Pierre, in the play of "The Wife." General Wool and staff attended in full uniform, which, with the appropriate

and elegant costumes of the ladies, added brilliancy to the occa- sion. William E. Burton's last engagement was with Mr. Har- rison. Arriving at Troy, Mr. Burton was taken suddenly ill, and in a short time he returned home to die. Mr. Harrison had worked incessantly, and with his artistic taste placed his pieces upon the stage in a style of excellence rarely seen out of the metropolis ; but he discovered that a theatre could not be sus- tained in such a style, and, refusing to carry it on in a less artis- tic manner, closed the theatre, and returned to Brooklyn, much to the regret of the leading citizens of Troy. Alternating and pursuing histrionic and photographic art (for Brooklyn was not then prepared to support a regular theatre), he visibly advanced and improved the state of both, awaiting the time when a theatre could be established upon a permanent basis. In September, 1863, Mr. Harrison, thinking the time had come, opened the Park Theatre, which he named in honor of the old Park Theatre of New York. His management and company were most excel- lent ; but, not satisfied with the success which attended his dra- matic efforts, he organized an English opera troupe. Here he introduced to the lyric stage Messrs. Castle and Campbell and others, with Theodore Thomas as conductor. The first opera given, the " Bohemian Girl," was a decided success. Mr. Fry, the famous musical critic of the New Yorkc Tribune, gave frequent columns of laudation to the effort of Mr. Harrison to foster the English opera, and to sustain by American musical talent ; but the enormous expenses of the companies and the season of the opera coming in contact with the Lenten season, caused greatly reduced houses and brought financial ruin to Mr. Harrison after giving ten months of hard work to the enterprise. The upright, generous and manly course of Mr. Harrison's whole life had won him hosts of friends, and several gentlemen offered him means to continue his work; but, rather than risk the money of others in his own speculations, he refused the proffered loans and closed his theatre. During his management of the Park Theatre, he appeared for twenty-one consecutive nights, rendering only four different characters ; every night the house being crowded to overflowing. The New York World of November 23rd, 1862, contained the following :

Brooklyn people ars justly congratulating themselves upon the reappearance of Mr. Gabriel Harrison on the boards of his cosy and admirably conducted theatre, the Park. Mr. Harrison is remembered by many as the talanted actor who shone at the New Park Theatre, New York, when that was the leading establish- ment of the country. He resumed his dramatic duties last week, appearing as St. Pierre in Sheridan Knowles' play of "The Wife." Mr. Harrison is a well-read man, of sound taste, and possesses a fine appreciation of stage-art. He has a capital presence, enunciates fluently, and furnishes throughout excellent render- ing of his text. His action is animated, easy, and natural, and in some scenes surprisingly fine. There is taste and gentlemanli- ness in all that he does. He afforded an impersonation artistic in detail, and just in conception. Later in the week, he essayed Claude Melnotte in the " Lady of Lyons," and with the same marked success.

The entire press of New York and Brooklyn spoke in unquali- fied praise of Mr. Harrison's ability both as an actor and a manager. His genius for the work was undoubted, and never was a man more industrions. He labored till broken in health with the continued mental and physical strain, when he was compelled to retire from his profession, to which, be it regret- fully said, he never fully returned. In 1864, a number of gentle- men tendered him a testimonial at the Brooklyn Academy of Music, and many favorite artists offered him their services. The play selected for the occasion was Shakespeare's comedy of the " Twelfth Night," and as the day selected for the performance fell on the 300th anniversary of the great poet's birth, Mr. Har- rison decided to celebrate the event by a grand Shakespearean tableau, which he arranged with over one hundred characters. The occasion was a great success. Several times after this, Mr. Harrison became the lessee and manager of the Brooklyn Acad- emy of Music, and here many of the best stars performed,

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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 124

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