Rare African American portraits connected to Philadlphia's 1st Mayor

Franklin Street (Philadelphia artist) Charles Montier (1818–1905) 1841

Franklin Street (Philadelphia artist) Elizabeth Brown Montier (1820–c. 1858)


The Philadelphia Museum of Art houses an extremely rare pair of portraits of African American sitters whose heritage can be traced back to the city’s first mayor, Humphrey Morrey (b. c. 1650, England; d. 1716, Philadelphia), appointed to his office by William Penn in 1691. In 1742, Mayor Humphrey Morrey's son Richard (1675-1754) married one of the family’s servants, Cremona Cremona Morrey (1710-1770) who was 35 years younger than he. The union resulted in five children, and in Cremona Morrey receiving 198 acres of land from Richard in 1746, near Guineatown in Cheltenham Township of Montgomery County just northwest of Philadelphia. One of their 5 children, Cremona, married a free black man, John Montier. Hiram Chales Montier descended from this union.

 The portraits were painted in 1841 and depict Hiram Charles Montier (1818–1905), who was a bootmaker on N.W. 7th Street at the time of the painting, and his wife Elizabeth Brown Montier (1820–ca. 1858) whom family records indicate had lived in the city’s Northern Liberties neighborhood.  Living in Philadelphia, the Montiers were members of one of the largest free African American communities in the North although Pennsylvania’s gradual emancipation law of 1780 permitted slavery well into the 19th century.  

The signature “Fr Street” on the reverse (now concealed by lining) of Elizabeth’s portrait corresponds to an artist named Franklin R. Street who was active in Philadelphia between 1839 and 1872. No other works by the artist are recorded and no contemporary exhibition records for him have been found, though he was listed in city directories and census records; he was likely a professional painter, producing commercial signs and fancy work as well as portraits. The paintings nevertheless adopt the conventions of high-style portraiture, including the elegant attire, grand architecture, and dramatic landscapes that characterize the works of Philadelphia masters such as Gilbert Stuart and Thomas Sully. At the time of these paintings, Franklin Street’s studio was located at 41 Chestnut Street.

18th-Century Ladies present 4th of July Orations

Although privileged young American women in the 18th-century often received elocution lessons, speaking in a public forum was generally left to men. Occasionally, women found opportunities to speak. The 4th of July was one of these occasions.

Washington Reviewing the Western Army, at Fort Cumberland, Maryland, after 1795 attributed to Frederick Kemmelmeyer (German-born American artist, c.1755-1821)

Presenting flags & banners to their local militia was a popular form of expression of patriotism by women in early America providing them the opportunity to express their sentiments regarding the importance of liberty & freedom. In an article titled “Spirit of the Ladies!” published by the editor of the Gazette in Portland, Maine, on 16 July 1798, 1, the role of women as an inspiration to the men serving their country was expressed:  "The American Fair, add much to the spirit of the times. In different parts of the Union they have presented the American standard to the Volunteer corps. This must have a charming influence to animate the breasts of our young soldiers. The idea of acting under the standard of our country, thus presented, with a reliance on our bravery, will excite the utmost vigor of our nerves, and inspire us with an honorable pride, that will never suffer them to be torn from our hands. Yes, ye fair! these sacred pledges of your patriotism must be maintained; and the sons of Columbia will no longer merit your favors, than they are ready and able to defend and protect you, and their country."

General Wayne Obtains a Complete Victory Over the Miami Indians, August 20th, 1794 by Frederick Kemmelmeyer (German-born American artist, c.1755-1821)

On July 4, 1798, Sally Duane presented a standard & addressed Macpherson’s Blues in Philadelphia.
"To General Macpherson: Impelled by far more laudable considerations than a desire to distinguish myself, permit me, through you, to present to the corps, under your command, a standard, which I hope they will deem worthy their acceptance, from the motives inducing the tender, however imperfect may be the execution of the work. Although ardently attached to the state in which I was born, from habits of early affection, yet patriotism extends my best wishes to all the meritorious citizens of our nation. Thos composing your corps are among the first who, by their exemplary virtue, have entitled themselves to the gratitude of every heart warmed with the love of our common country; and from whom should they receive more sincere testimonies of our approbation than from those of our sex? On the bravery of yours, we depend for protection. We can only oppose with our prayers, or indignantly, though fruitlessly, bewail with our tears, national insults or misfortunes. By your spirit and prowess, under the protection of Heaven, you can avert or avenge them. The art in which I am receiving instruction for amusement, cannot be employed to better purpose than in endeavours to decorate the ensigns devoted to merit and to patriotism. Happy shall we all be, if the art you are now learning be acquired merely as a necessary part of the education of free citizens, determined to defend their liberties and their laws. I fervently pray the Benign Disposer of the fate of nations to avert the hard necessity of its being brought into practice. Should he permit the angel of destruction to fill up the measure of their iniquities by guiding to our peaceful shores the enemies of our happiness, and of the peace and tranquility of the world, I shall tremblingly deprecate the occasion; but I confidently anticipate a consolation under so cruel a calamity, in the glory you and the rest of my fellow citizens will achieve, when before the foes of our beloved country, this banner shall be unfurled."
See: Claypoole’s Daily American Advertiser, 10 July 1798, 2; New York Gazette,12 July 1798, 3; Spectator, 14 July 1798, 4; Salem Gazette, 17 July 1798, 3; Newburyport Herald, 24 July 1798, 208; Connecticut Gazette, 8 August 1798, 1.

Jonathan Welch Edes (American artist, 1750-c 1793-1803) Overmantel, 1790, Massachusetts

In the same year, the Newport, Rhode Island Companion and Commercial Gazette reported, "The military arrangements being formed by Major Marsh, as officer of the day. The following parade took place; a detachment was directed from Captain Reynold's Grenadiers, under the command of Lieutenant Ducan, to receive the standard of the 54th Regiment, from the hands of Miss Simons, who on presenting it, delivered the following address: "Sir, having the honor of delivering to your hands this standard to-day, I am encouraged to hope and believe, that it will always be supported and protected in the sacred cause of freedom, by the patriotism and gallantry of the officer to whose charge it is assigned; and although the needle work will, in time, lose its brilliancy and fade, I cannot harbour the most distant thought, that this banner of 54th regiment of the Norfolk borough militia, will ever be tarnished in its military glory, or unfurl'd in any cause save that of the constituted liberties of the free Citizens of the United States of America."

Frederick Kemmelmeyer (American artist, c.1755-1821) President George Washington reviewing the Western army at Fort Cumberland October 18, 1794, the day before they arrived in Bedord, Pennsylvania

Zilpah Wadsworth, the mother of Henry Wadsworth Longfellow, presented a standard from the women of Portland, Maine, to the Portland Federal Volunteers, Capt. Joseph C. Boyd, commander, "who made their first public appearance in a very rich uniform." Zilpah Wadsworth declared: "In the name of the young ladies of Portland, I have the honor to present this standard, to the first company of Federal Volunteers. Receive it as a testimony of the approbation with which we have beheld the patriotic spirit which has determined you to 'Defend the laws, of your country.' We cheerfully confide to your care this emblem of our independence. Let it ever recal to your minds the assurance that our best wishes are for your success. Long may you unfurl it; long may this towering eagle fly triumphant!"

 A Militia Meeting. Satirical English print 1773

To which Ensign Richard C. Wiggins of the Portland Federal Volunteers replied: "Daughters of Columbia, in behalf of the first Company of Federal Volunteers, permit me to assure you, that we are happy in meriting this valuable present which I have the honour of receiving from your fair hands. Nothing could inspire us with more ambition to "defend the laws" of our country, than this act of patriotic heroism; therefore, we shall ever consider it as the greatest emblem of our independence, and of female patriotism--the rememberance of which will not suffer us to part with it, unless with our lives, nor suffer a single plume to be plucked from the wings of the eagle, by any foreign or domestic power, unless with the blood of our hearts--that its independent flight may declare to proud and haughty Europe...while we are blessed with such politicians, as a Adams in the cabinet, and such warriors as a Washington to lead in the field."
See: Independent Chronicle and the Universal Advertiser, 8 July 1799, 4.

1754 A Picnic in Annapolis, Maryland

Fishing in the British American colonies was a social sport, & the outcome was as unpredictable then as it is nowadays. This poem appeared in the 1754 Maryland Gazette about preparing a list of items to take on a picnic & fishing trip on the Severn River in Annapolis.



Six bottle of wine, right old, good and clear;
a dozen at least, of English strong Beer:
Six quarts of good Rum, to make Punch and Grogg
(the latter a Drink that’s now much vogue)
some Cyder, if sweet, would not be amiss:
Of Butter Six pounds, we can’t do with less.

A tea Kettle, Tea, and all the Tea Geer,
To treat the Ladies and also small Beer.
Sugar, Lemons, a Strainer, likewise a Spoon;
Two China Bowls to drink out of at Noon:
A large piece of Cheese, a Table Cloth too,
A sauce-pan, two Dishes, and a Corkscrew:
Some Plates, Knives and Forks, Fish Kettle or pot,
And pipes and Tobacco must not be forgot:
A frying pan, Bacon or Lard for to Fry:
a tumbler and Glass to use when we’re dry
A hatchet, some Matches, a Steel and a Flint,
Some touch-wood, or Box with good tinder in’t.
some vinegar, Salt, some Parsley and Bread
or else Loaves of Pone to eat in it’s stead:
and for fear of bad Luck at catching of Fish
Suppose we should carry- A READY DRESSED DISH

Happy New Year 2013!

Jonathan Adams Bartlett (American artist, 1817-1902) Harriet, the artist's fiance c 1840

Wishing you God's peace & joy & love for the coming year!

 

American Artist Henry Benbridge 1743-1812

Henry Benbridge (1743-1812). Margaret Cantey (Mrs. John Peyre).

Henry Benbridge (1744–1812), early American portrait painter, was born in Philadelphia, the only child of James & Mary (Clark) Benbridge. When he was 7 years old, his widowed mother married Thomas Gordon, a wealthy Scot. The boy's artistic talent was encouraged, as he made decorative designs for his stepfather's drawing-room.

Henry Benbridge (1743-1812) Gordon Family (his stepfather & mother Mary Clark Benbridge Gordon) 1763-65

When he was 21, Benbridge was sent to Italy, where he studied with Pompeo Batoni & Anton Raphael Mengs. From there he journeyed to London before returning to Philadelphia. Like other young Americans he was encouraged by Benjamin West. He wrote, on December 7, 1769, to his stepfather: "Upon my arrival I waited upon Mr. West who received me with a sort of brotherly affection, as did my cousin, Mrs. West." He left England in 1770, bearing from West the following note of recommendation to Francis Hopkinson: "By Mr. Benbridge you will receive these few lines. You will find him an Ingenous artist and an agreeable Companion. His merit in the art must procure him great incouragement and much esteem. I deare say it will give you great pleasure to have an ingenous artist resident amongst you."

Henry Benbridge (1743-1812) Mrs Charles Coteworth Pinckney Sarah Middleton Benbridge 1773

In Philadelphia, Benbridge married & was admitted to membership in the American Philosophical Society in 1771. Suffering from asthma & the cold of Philadelphia, he moved to Charleston, South Carolina, where he succeeded Jeremiah Theus as the region's popular portrait painter. Around 1800 Benbridge relocated to Norfolk, Virginia, & made frequent visits to his native Philadelphia. At Norfolk he gave Thomas Sully his first lessons in oil painting. Earlier in Charleston, he had instructed Thomas Coram. Sully described his master as "a portly man of good address–gentlemanly in his deportment."

Henry Benbridge (1743-1812) Archibald Bulloch Family 1775

Benbridge, who had certainly seen the lastest opulent fashion trends, as he studied in Italy with Pompeo Batoni & in England with expatriate Benjamin West, had a distrust of the trendy fashionable. In 1770, when his sisters were nearing marrying age, Benbridge wrote his mother from London, that his sisters "should not refuse a good plain honest Country farmer if such a one should offer himself with tolerable good estate, for one of the town who perhaps may have a better taste for dress, but not more merit, if perhaps as much."

1784 Henry Benbridge (1743-1812). Rachel Moore (Mrs. William Allston II).

When Benbridge had returned from Europe settling in Charlestown, South Carolina, to make a living painting portraits, he wrote to his sister Betsy in 1773, "Every kind of news here is very dull, the only thing attended to is dress and dissipation, & if I come in for a share of their superfluous Cash, I have no right to find fault with them, as it turns out to my advantage."


1790 Henry Benbridge (743-1812). Mary Boyer (Mrs. Robert Shewell).

In 1785, Benbridge, who loved the simple pleasures of gardening, was still worried about the too fancy dress of his son, Harry, whom Benbridge lovingly called "my little fellow." He wrote to his sister that he felt that his wife was dressing him in "too good things for a boy like him to wair, & likewise too many of them at once; he can't take care of them when he is at play & more common & Strong stuff in my Opinion would answer much better, & not fill his head with foolish notions of dress, which perhaps may be his bane."

1780s Henry Benbridge (1743-1812). Elizabeth Allston (Mrs. William H. Gibbes).

It is not surprising that Benbridge painted many of his female clients in dignified classical gowns looking serious, thoughtful, & restrained.

Henry Benbridge (1743-1812). Lady of the Middleton Family. 1780s

Henry Benbridge (1743-1812) Enoch Edwards Family 1779

Henry Benbridge (1743-1812) Mrs Benjamin Simons 1771-76

Henry Bendridge (1743-1812). The Hartley Family. 1787

Henry Benbridge (1743-1812). Sarah White (Mrs. Isaac Chanler). 1770s

Henry Benbridge (1743-1812 The Tannant Family 1770s

Attributed to Henry Benbridge (1743-1812). Rebecca Lloyd (Mrs Edward Davies) 1770s

Henry Benbridge (1743-1812) Mary Bryan Morel and Her Children c 17773

Henry Benbridge (1743-1812) Allegorical Portrait of Sarah Flagg c 1774

Henry Benbridge (1743-1812). Mrs. Mumford Milner (Elizabeth Brewton) b 1786

Henry Benbridge (1743-1812) Rebecca Gordon (his half sister) 1770s

Henry Benbridge (1743-1812) Elizabeth Ann Timothy Mrs William Williamson c 1775-85

1770s Henry Benbridge (1743-1812). Charlotte Pepper (Mrs. James Gignilliat).
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