The life and works of Gilbert Stuart

Preface

rHIS biography of Gilbert Stuart was written at the request of Miss fane Stuart, the only surviving member of Mr. Stuarfs family. Miss Stuart intended to prepare it herself and had published three papers on the subject in " Scribner's Magazine^'; but finding the work too laborious, owing to the demands of her profession on her time, and the difficulty experienced in searching out the pictures painted by Stuart (now widely scattered), it was assigned by her to other hands ; with the one request, that the volume should be a faithful record, so far as the materials within the reach of the biographer would allow, of her distinguished father's life and works. The task has not been a light one. With the exception of a few letters addressed to Stuart, the drafts of a couple of letters that he wrote in 1800, and a few brief entries made in a note-book while he resided in Boston, Stuart left no papers that could be made available in sketching his career ; and nearly everything that has been written of him up to the present time, has been made up of anecdotes (many of them of

VI

Preface.

questionable authenticity), first given to the world by Dunlap and Dr. Waterhouse.

But Stuart lives in his works, and an effort has been made to search out his portraits, scattered over the sea-board States and throughout England, and learn something of their history. Wherever owned they are highly prized, and in many families traditions connected with them have been preserved. It has been a pleasant task to collect these rem,iniscences and to bring them together. While so engaged, the author has been assisted by many admirers of Stuart's pictures. To Miss Eliza Susan Quincy, of Quincy, Mass. ; Mr. Jonathan Mason, Boston ; General W. Raymond Lee, Roxbury ; Mr. J. M. Falconer, Brooklyn, and Mr, Henry T. Drowne, New - York ; Messrs. John William Wallace, Charles Henry Hart, Herbert Welsh, W. S. Baker, and E. D. Marchant, Philadelphia ; Mr. Winslow M. Watson, Washington, D. C. ; Mr. Osmond Tiffa^iy, Baltimore, and many others, his thanks are due for favors of this kind. He would also return his cordial thanks to Dr. William F. Channing, Providence; Miss Binney, Philadelphia; Miss Callender, Newport; Messrs. Charles Joseph Bonaparte, Baltimore; John R. Stevens and Egbert Benson, Jr., New - York ; Henry E. Pierrepont and J. M. Falconer, Brooklyn; the New -York Historical Society, the Curators of the Academy of Fine Arts, Philadelphia, and the Art Museum, Boston, for permitting negatives to be taken of the pictures selected as illustrations of this work.

The Washington, on steel, by Burt, has never before been engraved, and the photogravure of the same portrait, by Goupil, while it shows how well the engraver has done his part, gives another and not less faithful aspect of the picture.

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Preface, vu

More than six hundred portraits by Stuart are referred to in these pages. But numerous as are the pictures here mentioned^ others equally worthy of notice have probably been overlooked, for this is the first systematic effort (begun by Miss Stuart and carried on by the author) to collect even the names of Stuart's sitters ; and it is only by calling attention to the subject in this way, that we shall learn where some of his pictures are still hid from sight.

It is the wish of the author that any oversight discovered by the reader may be made known to him, i^i order that it may be corrected in a future edition. And he would add, that in giving the name of a picture by Stuart, not mentioned in these pages^ it should be accompanied by the full address of the owner.

G. C. M.

Newport, Rhode Island, i8yg.

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LIST OF PLATES.

Portrait of Washington, reproduced by the photogravure process of Messrs. Goupil & Company, Paris, from the original by Stuart [known as ** the Gibbs Washington"], in the possession of Dr. Wm. F. Channing, Providence, R. I Frontispiece,

Portrait of Gilbert Stuart, engraved on Wood by T. Cole, from the miniature by Miss Goodridge, in the possession of Mr. Mason, Title-page,

Portrait of Stuart, etched by James Duthie, from Stuart's pen-and-ink drawing of himself, in the possession of J. M. Falconer, Esq., Brooklyn, , . . To face page i

The Gibbs Washington, engraved on steel by Charles Burt,

To face page 87

Portraits by Gilbert Stuart^ photographed for this work from the original paintings, by permission of the owners, and reproduced in photogravure by Messrs. Goupil & Company, Paris.

I. Egbert Benson. Original in the Rooms of the New- York

Historical Society, .To face page 25

X List of Plates.

2. Horace Binney [at the age of twenty years]. Original in

the possession of Miss Susan Binney, Philadelphia. 51

3. Madame Bonaparte [Elizabeth Patterson]. Original [ the

4. John Callender. Original in the possession of Miss Cal-

lender, Newport, R. I .... 83

5. Washington [the picture known as the '' Athenseum Por-

trait"]. Original in the Boston Museum of Art. 103

6. Mrs. Washington. Original in the Boston Museum of

Art 115

7. General Horatio Gates. Original in the possession of

John R. Stevens, Esq., New- York 183

8. John Jay [in his robes as Chief-Justice of the United

States]. Original in the possession of Henry E. Pierrepont, Esq., Brooklyn 205

9. General Knox. Original in the Boston Museum of Art . . 211

10. Elizabeth Willing [Mrs. Major Jackson]. Original in the

Philadelphia Academy of the Fine Arts 251

LIFE OF GILBERT STUART

L^ETfeS». .^.

" I had rather leave a good portrait of myself behind me than have a fine epitaph." — Hazlitt.

"What though the dear and honored features and person on which, while living, we never gazed without tenderness or veneration, have been taken from us ; something of the loveliness, something of the majesty, abides in the portrait, the bust, the statue. The heart, bereft of the living originals, turns to them, and cold and silent as they are, they strengthen and animate the cherished recollections of the loved, the honored, and the lost." — Everett.

Gilbert Stuart

From his Pen-and-ink Drawing

P k

AT the head of Petaquamscott Pond, in the Narragansett country, Jr\. in Rhode Island, shut in by trees and far away from the din and stir of the world, there stands an old-fashioned, gambrelroofed and low-portaled house, by the side of a tiny stream. This old house, so seldom visited and so little thought of, has a history, for it was the birthplace and early home of Gilbert Stuart, the artist.

There is little within the house to attract attention : the ceilings are low, the fire-places are wide and flaring, and the stairs steep and contracted ; but the low door is opened to all who care to enter, and for the asking one may see the room in which the painter was born. It has never been altered, and the place has known but few changes, other than that the wheel that once ground snufif for the many, now grinds corn for a sparsely settled neighborhood.

In 1746, Dr. Thomas Moffatt, a native of Scotland, and a physician of the Boerhaavean school, who had been implicated the previous year in the insurrection at home, came to America and settled in Newport. He was a man of marked ability, and made many friends. But in America he lacked the excitement of politics, and as he could not be idle, he applied himself to his profession, till there was a stir about the Stamp Act. This measure, so

unpopular in New England, he advocated strenuously, and thereby brought down upon his head the wrath of a mob ; his house was entered, his library and other valuables were destroyed, and to escape personal violence he sought shelter on board a frigate in the harbor.

At the time that Dr. Moffatt arrived in America, there was not a snuff-mill in the colonies, and all the snuff used was imported from Glasgow. The Doctor, seeing, as he supposed, a large profit in the trade, thought it would pay to go into the business of tobaccoraising and snuff-grinding. To this end he associated himself with a brother Scotchman, the son of a Presbyterian clergyman, and a native of Perth, by the name of Gilbert Stuart.

It has been said that Moffatt, who had known Stuart at home, and was aware that he was a good mill-wright, sent for him to come to America. But Stuart, if a mill-wright, could have had but little experience in his calling, for he was but nineteen or twenty when he came hither. The family tradition, that he was a political refugee, is probably nearer the truth. Opposed to his father in politics, he joined the Pretender, Prince Charles Edward, and after the battle of Culloden, fled to the Colonies. In America he wandered from place to place, but finally came to Rhode Island, where he chanced to meet Dr. Moffatt. It was not long before the two became warmly attached to each other, and the Doctor found he could not get on without his young friend, who, when made acquainted with the snuff-mill project, gave it much attention. From this time forward, Stuart was identified with the mill, and ever after was known as " the snuff- grinder."

Having established himself, Stuart looked around for a helpmate, and found one in Elizabeth Anthony, a most attractive young woman, whose beauty has been referred to by Sabine in his " Loyalists." She was the daughter of Albro Anthony, a native of England, then residing on a large farm in Middletown, a few miles from Newport. To the house and mill on the Petaquam-

His Baptism and Early Education. 3

scott (for the house and mill were one) he took his bride, and in that quiet retreat three children were born to them — James, who died in infancy, Ann, who became the wife of Henry Newton, and the mother of Stuart Newton (the artist), and Gilbert, who was born December 3d, 1755. ^^ the record of St. Paul's Church, Narragansett, there is the following entry :

"April nth, 1756, being Palm Sunday, Doctor McSparran read prayers, preached, and baptized a child named Gilbert Stewart, son of Gilbert Stewart, the snuff-grinder. Sureties: the Doctor, Mr. Benjamin Mumford, and Mrs. Hannah Mumford."

In this entry two things are noticeable, — the spelling of Stuart's name, and the absence of "Charles" after the Gilbert: he having been known in early life as Gilbert Charles Stuart. The first may be easily traced to inadvertency in making the entry ; and the inserting of the Charles in the child's name was probably an afterthought of his father, who was as much of a Jacobite as was his friend and countryman. Dr. Moffatt. The "Charles," Stuart dropped in after years, and answered only to the name of Gilbert Stuart.

The snuff-mill was run but a few years. It had been successful up to a certain period, when a sudden turn in its affairs brought it to a close.

This was unfortunate for Stuart ; but while he was casting in his mind what course to pursue, Mrs. Stuart came into the possession of a little property ; and as nothing was to be gained by still residing in the mill, he deemed it prudent to remove to Newport, where, w^hile looking for an opening, his son could have the benefit of proper schools. Up to this time Mrs. Stuart had been the lad's only teacher. From her he had acquired the rudiments of learning, and although unacquainted with Latin, and therefore unable to teach the language, she created such a desire in his mind to master it, that he soon made himself familiar with it when the opportunity offered.

At that time the Reverend George Bissit was residing in New-

4 Early Attempts at Drawing.

port. He was the assistant minister of Trinity Church, and the head of a parochial school, founded by Nathaniel Kay, ** Collector of the King's Customs." Mr. Bissit had the reputation of being a man of learning, a fine Latin scholar, and a successful teacher. On the death of Rev. Marmaduke Brown, the Rector, he was chosen as his successor, and ably presided over the parish till the breaking out of the Revolution, when, refusing to give up his allegiance to the Crown, he was forced to leave the colony. His property was confiscated ; but in compliance with the earnest appeal of Mrs. Bissit, the little that he had was given up to her, and she was permitted to leave the place with her family, to join her husband in New-York. Soon after they sailed for England, never to return. Under the instruction of this good man, Stuart made great progress, and soon became a Latin scholar. But it was hard work for him to study ; his spirits were too buoyant for that ; he was too fond of pranks — all sorts of mischief that boys are prone to, and which often makes them hard to manage ; and, moreover, he had another love, which claimed more than a share of his attention. He could curb his inclination for mischief for the moment; was willing to give up a portion of his time to his books, for he saw the need of it; but his fondness for drawing he could not suppress, nor did he attempt it.

No portfolio of Stuart's early drawings has been preserved, for he had no portfolio. No record has been made of his early efforts, — no record could be made, — for the first brush of a sleeve, the first passing shower, effaced what he had sketched with chalk or charcoal, on a fence, a slab, or a tail-board.

In these early drawings there was no attempt at anything more than the merest outline, and in work of this kind there could be little that was improving ; but it was to him a delight, and at last he came to feel that he could be, must be, a painter.

But how was he to learn anything of art, and who was to teach him even the rudiments of his calling? Art was then at a

Condition of Art in the Colonies. 5

low ebb in America, and there were but few even passable pictures in the Colonies. Even the few were beyond his reach ; and where was he to gain the means or secure the influence that could command the services of proper teachers? It all seemed dark to him, and gloomy were his forebodings. But light began to dawn on him when his parents removed to Newport. Here a better field, limited as it was, was open to him. On many walls he could see prints that were tolerably good ; curious old Dutch tiles looked out upon him from mop-boards and mantels, and the richly colored wares of China were to be seen in almost every household. But portraits were not readily to be found. Few, indeed, were the portrait painters at that day who could support themselves with their pencils ; the majority having to supplement their art by other callings. In 1773, one Halpine, a painter whose name has been preserved in this way, advertised that he had taken a room near the brick market, in Newport, where, as portrait, herald and sign painter, he solicited a share of patronage.

In almost every instance, the names of artists that have come down to us are associated with some calling not properly connected with the fine arts. Smibert was certainly well introduced, and he at once made many friends in Newport and Boston. His portraits are among the best that we have of that period, and yet he had to paint coats-of-arms as well as likenesses ; and his successor, Blackburn, who had the rare merit of painting hands well, and other qualities that should have found him employment everywhere, lacked encouragement. Even at a later date, after the Revolution, when there was a greater demand for portraits, Samuel King, the instructor in drawing of both Allston and Malbone, made and sold mathematical instruments when not occupied with sitters.

But still Stuart persevered. At last he obtained colors, a palette, and — when he could find them — sitters. The earliest product of his pencil, so far as is known, is a picture owned by Thomas R. Hunter, Esq., of Newport, R. I., a couple of Spanish

Stuai'fs First Picture, dogs. The following is the history of the picture, which has been carefully preserved :

Dr. William Hunter, who came to America in 1752, had attained to a high position in his profession, and practiced medicine over a wide circuit of country, having Newport for its centre. During a professional visit at the house of Gilbert Stuart, he asked Mrs. Stuart who made all the drawings in chalk and charcoal on the sides of the barn. She replied by pointing to her son, with whom the Doctor at once entered into conversation. Before leaving, the Doctor made the lad promise (the boy's mother having given her consent) that he would come to Newport on election day and make him a visit. The boy was true to his engagement, and the Doctor, interested in the young sketcher, gave him brushes and colors, and bade him paint a picture of the two dogs that were lying on the floor under a table. Stuart at once entered upon the work, and while engaged in painting the picture, remained a guest in the house of Dr. Hunter.

At the age of thirteen, Stuart met with encouragement in the form of an order for two portraits — likenesses of Mr. and Mrs. John Bannister, of Newport. The Bannisters were then prominent in Newport, and were large land-owners. These portraits are now in the Redwood Library. They are not remarkable as pictures, but the facts connected with them make them interesting. That they were like the sitters cannot be doubted ; for a very beautifully painted miniature of Bannister, of an earlier date, in a similar scarlet coat, and showing the same cast of features, may still be seen in Newport.

At the age of sixteen, Stuart painted a portrait of his father, but what became of it is not known. It had a place in the collection of Stuart's pictures exhibited in Boston soon after the artist's death, but since then all record of it has been lost.

In 1770, Stuart had the friendly advice of one qualified to help him in his art studies. That year there came to America an artist

Goes to England with Alexander. 7

by the name of Cosmo Alexander. But little is known of him other than his name. That he was a gentleman was clear — one who was not only fond of art, but who had made some progress as a painter. He remained in the Colonies about two years, visiting in that time many places of interest ; but no inconsiderable portion of his time was spent in Newport. While here, Stuart was brought under his notice, and seeing evidence of skill in the young man, he gave him all the instruction he was capable of, in the way of his calling. The pupil was quick to catch what was said to him, and made such rapid progress that Alexander, when he returned to England, took him with him, promising to put him in the way to learn all that related to his profession. This promise he would undoubtedly have kept; but, unfortunately, he died soon after reaching Edinburgh. In his last moments, he commended Stuart to the care of his friend, Sir George Chambers. But here a new misfortune befell Stuart; for Sir George quickly followed Alexander to the grave. Stuart was thus cast suddenly upon his own resources, and these were slight indeed, for he had not attained to sufficient skill in his profession to win his way satisfactorily. Sir George, before his death, had found an opening for him in the University of Glasgow, where he was studying diligently, to make good the defects in his education. But lacking the necessary means for his support, he could not long remain there. With his brush he could earn enough to meet his own simple wants, but not enough to dress as did his fellow-students ; and, keenly feeling the annoyances growing out of his position, he abandoned the pursuit and thought only of returning to America. It has been said that the voyage home was made in a collier, bound for Nova Scotia, and was attended by every discomfort. So painful was the impression made upon him while shut up in the vessel, that he could never after be induced to speak of it.

Stuart had been absent two years, and although his experience had been a hard one, he had acquired a great deal of information.

Returns after Alexander s Death.

He had seen better pictures than he could see at home, and had been brought into contact with men of estabhshed reputations. Thirsting for knowledge and quick to understand what he saw in the works of others, he felt that he was better prepared than he otherwise could have been to appear before his countrymen as a portrait painter.

That his merits were recognized at this early period is evident, for he was soon called upon to paint the portraits of some of the wealthy Jews in Rhode Island ; one picture, a whole length of a Rabbi, supposed to be still extant somewhere in New- York, has been spoken of in particular. Among the portraits painted at that time were those of the Lopez family. He had also many other orders. ** His uncle, Mr. Anthony of Philadelphia," says Dr. Waterhouse, " was proud of his ingenious nephew, and employed him to paint a portrait of himself, and of his wife and children." This led to other commissions, and, for one so young, he had already been very successful, particularly when we take into consideration the times.

But while so engaged, Stuart did not forget or neglect to study drawing from the life; and the better to understand what he felt to be of the utmost importance, he and his friend Waterhouse clubbed together and hired a "strong-muscled blacksmith" as a model, paying him half a dollar an evening.

All this was very pleasant and very profitable ; but the disturbed state of the times began to make it difficult to obtain sitters ; war seemed inevitable, and the chances were that if there was an open rupture between England and America, there would be no possibility of his again visiting Europe for a long time. He had tasted of the waters that as yet were beyond his reach, and nothing short of a fuller and more complete knowledge of art, as practiced abroad, could satisfy him. To stay at home while there was so much to see and learn in other lands was distressing; his friend Waterhouse had already sailed (March, 1775); he felt that he could earn,

Again goes to England. 9

wherever he went, the Httle needed for his support; every day his touch was growing stromger, and, with it all, he had an intense desire to study under West, his countryman ; and so, with but one letter of introduction in Ihis pocket, he embarked on board the last ship that escaped detention in Boston harbor, in the spring of 1775, and sailed for Great Britain. Where he landed is not known, but it was probably in London.

II

ONCE in the metropolis, Stuart looked for cheap lodgings, which he had no difficulty in finding, and then he cast about for employment. But sitters were not easily to be had, especially by one so little known ; and if, by chance, an order was obtained, it was at so low a figure as scarce to meet his daily wants. He certainly had one letter to a man of influence, but he failed to deliver it; and so he plodded on, filling slight orders when he could get them; and still the object of ambition — to be the pupil of West — was ungratified.

Miss Stuart says that at this time one of her father's old schoolmates, then residing in London, had the privilege of visiting at West's house, but that he never thought of serving his friend by bringing him to the notice of the great painter. But this state of things could not continue long, for Stuart's necessities made it imperative that he should take some decided steps, and summoning his courage, he called upon West without an introduction.

"West was dining with some friends when a servant told him that some one wished to see him. He made answer, ' I am engaged ; ' but added, after a pause, * Who is he ? ' 'I don't know, sir : he says he is from America.' Thereupon one of the guests, Mr. Wharton, said, * I will go and see who it is.' Wharton was from Philadelphia, and was intimate with West's family. He went

His Reception by West.

II out and found a handsome youth, dressed in a fashionable green coat. With him he talked for some time, and finding that he was a nephew of Joseph Anthony, one of the most prominent merchants in Philadelphia, and who happened to be a friend of Mr. Wharton, he at once told Mr. West that he was well connected. Hearing this, West came out and received his visitor cordially. Stuart told him of his long desire to see him, and his wish to make further progress in his calling ; to all which West listened with kindness and attention. At parting, he requested Stuart to bring him something that he had painted. This Stuart did gladly ; in a few days he commenced his studies with West, and shortly after, in the summer of 1777, he was domiciled in his family. At that time he was two and twenty years of age."

The above was related by Dunlap, who had it from Stuart, and Miss Stuart has given me a similar version.

It was at this time, while contending with adverse fortune, that Stuart was called to Sion House, one of the country-seats of the Duke of Northumberland, to paint portraits of the Duke and two of his children. It was then a rare thing to have such an order. But the young painter had one solace during the time that he was struggling for bread, and that was a love for music, in which he had become very proficient. Years before he had mastered a number of instruments, and he had also met with some success as a composer. This knowledge of music was a most fortunate acquisition, for it helped him to eke out his scanty earnings while still a pupil under West, who imparted to him much that was valuable, but who added but little to his resources. It was therefore a matter of necessity that he should find some means of support during his novitiate, and he was quick to avail himself of the first opening that offered. It happened thus : Walking in one of the streets of London, known as Foster's Lane, he heard the notes of an organ. Pausing a moment to listen, he followed up the sound, which led him to the open door of a church, and as there was no

Becomes Organist of a London Church.

one there to make objection, he did not hesitate to enter. At once he became an interested spectator, for he had stumbled upon a number of candidates for the office of organist, who were in turn playing before the vestry. Stuart asked to be a competitor, which was granted ; his playing was infinitely superior to that of the others, and it resulted in his election as organist, with a salary of thirty pounds a year, he having given satisfactory reference as to his fitness and standing. His reference was Sir Alexander Grant, a Scotch gentleman, to whom he had a letter from America, but whose acquaintance he did not make till he had been with West some time. When, at length, he became known to that gentleman, he was called upon to paint his portrait, full length, and a group of his children. The time came when these pictures helped to make Stuart's reputation. Stuart retained his love of music through life, and in after years occasionally played some of the tunes he had learned in earlier days.

The intimacy between Gilbert Stuart and Benjamin Waterhouse, commenced in America, continued in England, where they were engaged in studying their professions. They had drawn from the life at home, and they were equally devoted to the study abroad. "I was often to him," says the Doctor, "what Rembrandt's mother was to that wonderful Dutchman, an object at hand on which to exercise a ready pencil. I once prevailed on him to try his pencil on a canvas of three-quarter size, representing me with both hands clasping my right knee thrown over my left one, and looking steadfastly on a human skull placed on a polished mahogany table." If this picture was ever finished it has since been destroyed, for there is no further record of it.

In speaking to Mr. Charles Fraser, of Charleston, of the manner in which he had been received by West, Stuart said he was welcomed with true benevolence, encouraged and taken into the family of his master, and that nothing could exceed the attentions of the artist to him; "they were," he said, "paternal." Stuart worked

Criticises Sir Joshuas Painting.

hard while under West, and more than repaid his tutor by putting in parts of his pictures. There are conflicting stories as to his manner of study, and it has been alleged that he had not the patience to go through with an academic course of drawing ; but that he was indefatigable in the study of the head, there can be no question. West saw that he had merit, and that he was remarkably successful in portraiture, and he often called upon him for assistance when so employed.