History of Philadelphia, 1609-1884, Part 48

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992

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On his return home, Sully found that his most profitable employment would be portrait-painting, and he devoted his principal attention to this branch of the profession. His portraits were artistic; there was a magic touch in his pencil, which embellished what it reproduced on canvas, without going too far from the truth, so that, looking at the picture of some homely person, one recognized it, and yet muttered, much puzzled, "] had no idea that he (or she) was good-looking !" Among his portraits were Cooke, comedian, 1811 ; William B. Wood, as Charles de Moor; a full-length portrait of Cooke as Richard III., 1811 ; Governor Tompkins, of New York, 1814; Dr. Benja- min Rush, 1814; also a full-length of the same sub- ject in the same year ; a full-length of Samuel Coater,

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President of the Pennsylvania Hospital, presented to that institution by the artist; James Ross, of Pitts- burgh, three-quarter length, 1814; a full-length of Gen. Jonathan Williams, 1815 ; Elias Bondinot, 1817; Mrs. Wallack, 1819; Dr. N. Chapman, 1819; Maj .- Gen. Andrew Jackson, 1819; John Vaughan, 1824: Capt. James Biddle, U.S. N., 1825 ; William MacClure, 1825.

Sully, while he painted portraits as the surest means of making money, did not, however, neglect those other branches of painting where the artist may give sway to his imagination, and on which he generally rests his hopes of fame. Poetry and ro- mance present a rich field to the imaginative painter ; Sully found in them the subjects of many good pictures. He painted "Pylades and Orestes," "The Landing of Telemachus and Mentor on the Island of Calypso," a copy from West, 1811; "Contemplation," 1811; "Lady of the Lake," 1812; " Miranda," from Shake- speare's "Tempest," 1815; "Death of Long Tom Coffin," from " The Pilot," 1824. He also turned his attention to historical painting, and produced some valuable pictures of events in American history. His " Capture of Major André," painted in 1812, is widely known from the large engraving which F. Kearney made from it.

One of Sully's most important works, on which he doubtless based hopes of fame and profit,-his large picture of "Washington Crossing the Delaware," --- turned out to be a source of much disappointment and pecuniary loss. The history of this picture is singular. In 1818, Mr. Sully received an order from the State of North Carolina for two full-length por- traits of Washington. The artist's mind was bent on producing some grand historical picture. Here, then, was his opportunity : instead of a simple por- trait, he would represent Washington in some well- known episode of his patriotic career. He commu- nicated this plan to the Legislature of North Carolina, and suggested "The Crossing of the Delaware before the Battle of Trenton" as a fit subject. His propo- sition was accepted, and he set to work with enthusi- astic ardor, devoting himself to his task to the neglect of all other work, even refusing some valuable orders Among the best portraits painted by Sully about that period was a full-length of Thomas Jefferson for the Military Academy at West Point, in 1821. for portraits. But a most important point had re- mained unsettled. The picture must necessarily be quite large, the figures represented being of life size ; In 1837 the St. George Society of Philadelphia commissioned Sully to go to England and paint a full-length portrait of the then youthful Queen Vic- toria, who had just ascended the throne. This com- mission was executed in an admirable manner. That portrait was Mr. Sully's last important work, yet up to within a short time of his death the artist continued to produce charming pictures, especially of women and children. As a colorist he had no superior in this country. His style was that of Sir Thomas Lawrence, especially in his portraits of women. His portraits of Cooke, Mrs. Wood, the singer, and Fanny the artist had mentioned the dimensions of his can- vas, and no objection had been raised,-the Legisla- ture had probably paid no attention to this trifling detail,-but when the picture was finished, after nearly two years of constant labor and considerable expense, the Legislature of North Carolina refused to receive it, upon the ground that there was no place in the public buildings where it could be put. It was exhibited in Sully's gallery in 1820, and much admired, but its large size hindered its admirers from thinking of purchasing it. At last this work of great merit, which had cost the artist so much thought and . Kemble, are among the most successful of his efforts.

labor, was sold to John Doggett, of Boston, for five hundred dollars, not enough to cover the actual cost of canvas, paint, and models' hire. Mr. Doggett subsequently sold the "Washington Crossing the Delaware" to the Boston Museum.

A more profitable piece of work was the copy of Granet's famous "Capuchin Chapel." Granet had painted ten copies of his picture, and one of them was purchased by Mr. Wiggins, of Boston. There was much curiosity in the art-loving public concern- ing this masterpiece, and Mr. Wiggins was constantly annoyed by applications to see it. Sully went to Boston, obtained an introduction to Mr. Wiggins, and applied for permission to copy the picture for the purpose of exhibition. This being willingly granted, he worked steadily ten hours a day for three months, and made such an admirable copy that it was said that connoisseurs, seeing the two pictures side by side, could not tell which was Granet's and which Sully's. The industrious artist derived considerable profit from the exhibition of " The Capuchin Chapel" in various cities.

Sully's trusting disposition caused him to suffer another disappointment with his full-length portrait of Lafayette, now the property of the city of Phila- delphia. While Lafayette was present, in 1824, a pro- ject was set on foot to secure his portrait for the city. The expense was to be met by subscription, and some names were readily obtained. Mr. Sully, con- fiding in the result of this scheme, obtained a sitting from Lafayette, and having succeeded in producing an excellent likeness, proceeded to paint the full- length, life-size portrait. Meanwhile the " Héros des deux Mondes" left Philadelphia, the subscription, started in a moment of enthusiasm, was abandoned as a failure, and Sully's picture-one of the best por- traits of Lafayette ever painted, and remarkable for the fidelity of the resemblance as well as for the artistic execution-remained on the hands of the artist. Failing to find a purchaser for it, he pre- sented it to the Academy of Fine Arts. Years after- ward the academy exchanged this picture for West's " Paul and Barnabas at Lystra."

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Mr. Sully died at his residence in Fifth Street above Chestnut, Nov. 5, 1872, at the ripe age of a little more than eighty years. Mr. Sully's life was blame- less. He indulged in the practice of music, of which he was passionately fond, and it became a solace to his declining years. Some of the best citizens of Philadelphia who enjoyed his society made his old age cheerful by their companionship. His kind dis- position and engaging manners endeared him to his family and friends. Two of his daughters and his son, Gen. Alfred Sully, a distinguished officer of the United States army, were his constant attendants.

Alexander Wilson, who conquered a place in the his- tory of art with his " American Ornithology," was a native of Scotland, who came to this country in 1794. He began life by being bound apprentice to a weaver, but, a born poet and dreamer, he was ill suited for this trade, and the only distinction he earned during his five years of apprenticesbip was the nickname of the " lazy weaver." At eighteen years of age, having served his term at the loom, he began the rambling life of a peddler, but his rambles only increased his taste for poetry, and a satire upon the vices of the aristocracy caused him to be prosecuted and impris- oned. Disgusted with his native land, he sailed for America. Landing at New Castle, Del., he started on foot for Philadelphia, where he found employment as a weaver, and also worked as a copper-plate printer. But he had higher aspirations, and after traveling for some time as a peddler and earning a little money, he set up a school in New Jersey, which he managed successfully for some years. He was still poor, how- ever, and his restless spirit led him to change his residence several times, and try his fortunes, with no better result, in various places. At last he came back to Philadelphia, and opened a school near the resi- dence of the well-known naturalist, William Bartram, within four miles of the city. This circumstance was the turning-point in his life. Already an enthusiastic lover of nature, Wilson found a congenial disposition in Bartram, and the two neighbors soon became fast friends. Mr. Dunlap says that Alexander Lawson was the first to suggest drawing to Wilson as a means of diverting him from the melancholy thoughts caused by his poverty and disappointment. From disciples of nature in every part of the habitable drawing and painting birds he was led to study their globe." habits. He had found his true vocation,-he had John Paradise, a native of New Jersey, studied for a short time under Volozan, and came out as a pro- fessional portrait-painter in Philadelphia in 1803. He left this city in 1810 to settle in New York, where he was engaged in his profession for many years. He died in New Jersey in 1833. become an ornithologist. With time, as he improved in his art and studies, Wilson conceived the idea of publishing the ornithology of Pennsylvania and, if possible, of the United States. This was a stupendous undertaking for the self-taught artist. The engraving of the plates alone would require a small fortune, and If Jacob Eichholtz, of Lancaster and Philadelphia, did not rise to eminence, it was not from a lack of per- severance or even of talent. He had no opportunities ; no protecting hand guided his first efforts; whatever he succeeded in doing was accomplished by his own strong will. He was a not uncommon example of that obstinacy of purpose, characteristic of the Amer- he was poor. Fortune at last favored him in this ex- tremity. He was engaged as assistant editor, at a liberal salary, by Samuel F. Bradford. Ere long Mr. Bradford, recognizing the merit of Wilson's valuable work, undertook to publish it. Lawson engraved the plates.

The publication was commenced in 1808. Wilson then traveled through various parts of the United States in search of subscribers, availing himself of the opportunity to add new treasures to his collection of birds. In 1813 seven volumes had been published. and the author had just completed the letter-press of the eighth when death put an end to his labors. He was then forty-seven years of age.

Mr. Dunlap says of Wilson, "The admirable trait in Wilson's character is his undeviating adher- ence to, and innate love of, truth. He was strictly honorable in his dealings, and in all trials through life rigidly a virtuous man. His fault, and I learn but of one, was irritability, which perhaps counter- acted, in some measure, the good effect which his high moral character produced." From a long letter of Dr. John W. Francis to Mr. Dunlap we quote the following: " When the Dukes John and Charles of Austria attended a conversazione at Sir Joseph Banks', in 1816, the royal visitors expressed a desire to examine the library and vast collections in natural science of the venerable president of the Royal Society. 'I have nothing worthy of your spe- cial examination,' said Sir Joseph, ' except the Amer- ican Ornithology of Wilson ;' and further inquiries were dropped upon the inspection of this extraor- dinary work. 'Our Radcliff Library is deficient,' observed Dr. Williams, the Regins Professor of Botany; 'we have had no opportunity of procuring the American Ornithology, by Wilson ; we learn the work is terminated, and it is remarkable that no Edinburgh or Quarterly has taken notice of it. In what way can we soonest obtain a copy from your country ?' Thus the sod had scarcely covered the grave of the lamented Wilson ere his matchless efforts as Nature's historian were the theme of popular and scientific admirers in regions far remote and distant from each other. While, therefore, his earthly re- mains have commingled with their kindred dust, like the delightful solo of that chief of songsters, 'The Mocking-Bird,' among the feathered tribe, whose vocal powers amid the fragrant magnolia he has so eloquently described as nnrivaled, his own surpassing labors will ever command the admiration of the

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icans, to which our country owes so much of its pres- and gratified. I have no doubt that Eichholtz would ent greatness. Eichholtz was born in the town of have made a first-rate painter had he begun early in life with the usual advantages." Lancaster in 1776. At the early age of seven years he showed his vocation by covering the walls of the John Lewi- Krimmel, who came from Germany to Philadelphia in 1810, to join his brother in commer- cial enterprise, but threw up trade to become an artist, was a young man of extraordinary gifts, who, had he lived to know that maturity of years which is also the maturity of talent, would probably have been proclaimed a second Hogarth. To a thorough knowledge of drawing and the use of colors, acquired in his native country, he added quick perception, an inventive and fanciful genius, and an equally strong sense of the humorous and the pathetic. He began by painting portraits, but soon became known for his pictures of popular subjects. The first which at- tracted attention was an artistic delineation of that peculiar Philadelphia character, the "Pepper-pot Woman." A copy, in oil, of Wilkie's " Blind Fid- dler," " Blind-man's-buff," "The Cut Finger," "Celadon and Amelia," "Aurora," "Raspberry Girl of the Alps of Würtemberg,"-a reminiscence of his native land,-followed in quick succession, eliciting general admiration. In 1812 he exhibited in the Pennsylvania Academy of Fine Arts a picture representing a crowd in Centre Square, which re- vealed the hand of a master. paternal garret with rude attempts at delineating objects that took his fancy. The elder Eichholtz, a practical man, of German descent, as the name indi- cates, was not disposed to encourage such nonsense, yet as he saw the child's delight when his persistent efforts to copy ohjeets were crowned with success, he kindly consented to give him a teacher, a common sign-painter, who committed suicide when he had barely taught his pupil the first rudiments of draw- ing. Little Jacob made the most of those few lessons, and went on copying everything he saw, from the house cat to his father's horn spectacles and porce- lain pipe. The child grew to be a lad, and was apprenticed to a coppersmith. He served his ap- prenticeship, went into the coppersmith business on his own account, and took to himself a wife, yet during all this time he gave to his favorite occupation of drawing every spare moment he could have out of the shop. How long he might have continued dark - ening his walls with uncouth charcoal sketches, had not fate sent Mr. Sully to Lancaster, is hard to tell. His acquaintance with this eminent artist was a reve- lation. It decided his future. He had attempted portrait-painting, dividing his attention between this occupation and his coppersmith business. Ile now dropped the shop entirely, resolved to support his family by painting faces. He attempted a portrait of Nicholas Biddle, president of the United States Bank, and having been urged to visit Gilbert Stuart at Boston, he took this work of art with him to show the great portrait-painter what he could do. Stuart received him kindly, and gave him some good advice ; but poor Eichholtz saw enough to convince him that he was but a tyro in the art of delineating " the human face divine." On his return home he removed to Philadelphia, where he could find means of improve- ment as well as more lucrative employment for his pencil. Ile painted portraits of T. B. Freeman, Com- modore Gale, and others, became favorably known, and acquired a decent competence, with which he returned to Lancaster after a ten years' residence in Philadelphia.

Sully, in a letter quoted by Dunlap, speaks thus kindly of Eichholtz: "When Governor Snyder was elected, I was employed by Mr. Binns to go on to Lancaster and paint a portrait of the new chief mag- istrate of the State. Eichholtz was then employing all bis leisure hours, stolen from the manufacturing of tin-kettles and copper-pans, in painting ; his at- tempts were hideous. Hle kindly offered me the use of his painting-room, which I readily accepted, and gave him during my stay in Lancaster all the pro- fessional information I could impart. When I saw his portraits a few years afterward in the interim he had visited and copied Stuart , I was much surprised

His last work was a great composition of several hundred figures in miniature oil, which Mr. Dunlap says were " executed with a taste, truth, and feeling both of pathos and humor, that rivals, in many re- spects, the best works of this description in either hemisphere." And he adds, "This picture I have seen. It is a Philadelphia election scene on Chestnut Street, in front of the State-House. It is filled with miniature portraits of the well-known electioneering politicians of the day. It has a portrait of the ven- erable building within whose walls the independence of America was declared. The composition is mas- terly, the coloring good, every part of the picture carefully finished, and the figures, near or distant, beautifully drawn. This picture was either painted for or purchased by Mr. Alexander Lawson. . . . . " The young artist was engaged to paint a picture of l'enn's treaty with the Indians, but had not yet com- menced this important work when he was drowned while bathing with some young friends in a mill- pond near Germantown.

Philadelphia may justly claim that great artist, Charles Robert Leslie, as one of her gifted sons, though London was his native city, and he acquired his fame in England. Leslie's parents, both Ameri- cans, were on a visit to the old country when the child was born ; when they returned home with him he was not quite five years old. Ilis first efforts at wielding the pencil were made in Philadelphia; his taste was inherited from his father, an amateur artist, whose drawings of ships and machinery were very much admired. The elder Leslie followed the trade

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of watch-maker, but being passionately fond of art, he wished to encourage in his little son all that would tend to develop his artistic disposition, and on send- ing him to a boarding-school in New Jersey he stipu- lated that the child should be permitted to draw as much as he pleased when not engaged in his other studies, a permission of which the boy availed him- self to the exclusion of all other recreation. From the little school young Leslie passed to the University of Pennsylvania, to pursue his studies ; then his father died, and his mother not having the means of giving him the education of an artist, he was bound appren- tice for seven years to Bradford & Inskeep, booksellers. This last circumstance, which seemed to shut off all hope of the lad's following his vocation, proved to be the very means of his adopting the profession in which he was to earn so great distinction. Mr. Bradford was a man of generous disposition and sound judg- ment. He saw the marks of genius in the sketches which his young apprentice continued to draw in his leisure moments. This genius must not be smothered, but encouraged ; Charles could not continue in the shop; but the lad had not the means to devote years to the study of art. The warm-hearted bookseller solved all these difficulties. He headed a list of sub- scription to raise a fund for Leslie's maintenance during two years in England, and invited some other liberal-minded citizens to join him in his good work. The amount was raised ; Leslie's indenture was can- celed (he had been an apprentice three years), and the young man left Philadelphia, in 1811, with Mr. Ins- keep, Bradford's partner, who was going on a business visit to London. Provided with letters for West and other leading artists, Leslie, on his arrival in the British metropolis, soon found friends. He there commenced his career under bright auspices, which his success fully justified.

But, even at the very height of that success, the artist never forgot those who had befriended him in his youth and given him the means of devoting him- self to art. In a letter to Mr. Dunlap, who had written to him for such information as would be used

With the latter gentleman I shared a common room for the first year, and we lived under the same roof until his return to America deprived me of the pleas- ure of his society. From Mr. West, Mr. Allston, and Mr. King" (all Americans) "I received the most val- uable advice and assistance. . . . My employers at that time were almost entirely Americans, who visited or resided in London." Mr. Leslie died in 1859.

John Eaves, portrait- and miniature-painter, com- menced to practice his art in Philadelphia in 1809. He had views taken from nature in England, Ireland, Wales, the Western Islands, Madeira, and North America, and was prepared to give instruction "in a new style of water-color drawing." How far suc- cessful he was in his profession, we cannot say.

Edward Miles, portrait- and miniature-painter in 1810, found it more advantageous to devote his atten- tion to teaching his art than to continue painting portraits. He was for a long time connected with art in the city, and was an active member of the Academy of Fine Arts. Abram I. Nunes was a portrait-painter in 1810. William Groombridge, a native of Tun- bridge, England, who had studied with Lambert, lived in Baltimore, but made frequent visits to Phila- delphia, and painted various landscape subjects near the city. He exhibited, in 1811, " A View from a Public Road near Germantown ; time, sunset ; season, the approach of autumn ;" "The Woodlands, seat of William Hamilton," " Middle Creek Falls, Pennsyl- vania," "Dover Cliff," and some fruit pieces; "A View on the Schuylkill," " View at the Mouth of the Wissahickon," and " American Autumnal Scene." They were the last of his works, as he died in Baltimore, May 24, 1811, in his sixty-third year. Thomas Bishop applied himself to landscapes and enamel painting. He produced "Lodona" (1811), and " A Flemish Village" (1812). He rarely exhibited his works publicly.

Thomas Birch, the son of William Birch, enamel painter, commenced by painting landscapes. He was born in London about 1779, and established himself in this city about 1800, and commenced the in writing a biographical sketch of him, Leslie speaks : painting of profiles. In 1811 he exhibited at the feelingly of those Philadelphia friends, and gives a list of their names. They were S. F. Bradford, Mrs. Eliza Powel, J. Clibborn, J. Head, Joseph Hop- kinson, J. S. Lewis, N. Baker, G. Clymer, E. Pen- ington, William Kneass, Alexander Wilson, the ornithologist, G. Murray, engraver; one hundred dollars was also voted by the Pennsylvania Academy of Fine Arts. The grateful artist also mentions Mr. Sully, who, " with his characteristic kindness," gave him his first lessons in oil-painting. " He copied a small picture in my presence to instruct me in the process, and lent me his memorandum-book, filled with valuable remarks, the result of his practice." Sully also gave him letters to several artists in London. Of the friends found in England he says the earliest were "Messrs. King, Allston, and Morse. Society of Artists. "A Fisherman's Hut on the Schuylkill, above the Falls," "The Woodcutter Asleep," "A Foggy Morning," "Snow Piece," " Frost Piece," "The Natural Bridge in Virginia," several views of the Schuylkill, and many other pieces too numerous for mention here, bear evidence of his skill as a landscape-painter. He also did something in the way of animal painting, as shown in his " English Setter" (1813), "Portrait of a Dog" (1817), " A Group of Pointers" (1823), "Landscape, with Dogs" (1825). Among his best marine pictures were " A View of a Bay" (1812), "Sea Storm and Shipwreck" (1811). He also painted " Engagement "between the ' Constitution' and ' Guerrière,'" " 'Con- stitution' and 'Java,' " " ' United States' and ' Mace- donian,' " " ' Hornet' and 'Peacock,' " "The Ship-

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wrecked Sailor" (1813), " Perry's Victory on Lake Erie" (1814), " Battle of Lake Champlain," " Storm," "Sea Breaking over a Rock," "The Wreck of the Packet Ship ' Albion' " (1823), "Pilot Boat off the Hills of Navesink" (1825), "Ship of War Dismasted" (1825). He died in Philadelphia, Jan. 14, 1851.

Denis A. Volozan, a Frenchman, was a historical painter, and quite prominent in matters relating to art up to the year 1820. Among his characteristic pic- tures were " Homer Singing his Poems ;" "Angelica and Medor, from 'Orlando Furioso';" "Death of Cleopatra ;" " Rinaldo and Armida, from 'Jerusalem Delivered' ;" "Testament of Eudamides, of the City of Corinth," copied from M. Poussin ; "Antigone, the Affectionate Sister ;" " Henry IV. under the Walls of Paris ;" "Jupiter and Leda ;" "Jupiter and Calista," and "The Last Moments of (Edipus." Volozan painted a few landscapes also, and some portraits. Among the latter were "General Washington" and "St. Joseph," in crayon, and " Victor Moreau," drawn in 1806.

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History of Philadelphia, 1609-1884, Part 48

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author Publication date: 1884 Publisher: Philadelphia, Pa. : L. H. Everts & Co. Number of Pages: 992

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992