My People: The Works of Ammi Phillips
My People: The Works of Ammi Phillips
A catalog with titles or subject identification with life dates, work dating, location, dimensions, descriptions, inscriptions, biographical data, provenance, sale records, ownership, published references, and cross-references to previous catalogs for over 750 works, with additional notes as to duplicates, errors and misattributions; and a comparative survey of over 650 examples, organized by date, locale, and stylistic period.
Volume 2 – Comparative Survey
David R. Allaway
Second edition – June 2022
ISBN 978-0-9987122-1-5
Author’s Note
Ammi Phillips’s given name is from the biblical Hebrew, meaning “my people.” As he devoted a half-century to traveling the Hudson and Housatonic Valleys and capturing the likenesses of his contemporaries, it seemed a fitting title for a catalog of his work.
Circa 1811: The Early Period – Berkshire Co., Mass...........................................................................................16
Early to Mid-1810’s: The Early and “Border Limner” Periods – Columbia Co., N.Y. and unidentified 17
Early to Mid-1810’s: The “Border Limner” Period – Washington, Rensselaer and Columbia Co., N.Y. ..........18
Early to Mid-1810’s: The “Border Limner” Period – Columbia Co., N.Y. and vicinity 19
Mid-1810’s: The “Border Limner” Period – The Dorr family, Chatham, Columbia Co., N.Y. ..........................20
Mid-1810’s: The “Border Limner” Period – Hoosick and Hoosick Falls, Rensselaer Co., N.Y. 21
Mid-1810’s: The “Border Limner” Period – Pittstown, Rensselaer Co., N.Y. and unidentified ........................22
Mid-1810’s: The “Border Limner” Period – Rensselaer Co., N.Y. 23
Mid-to-Late 1810’s: The “Border Limner” Period – Rensselaer Co., N.Y. and unidentified..............................24
Mid-to-Late 1810’s: The “Border Limner” Period – Washington and Rensselaer Co., N.Y.
to Mid-1840’s: The Early Daguerreotype Period – Fishkill, Dutchess Co., N.Y. and
Introduction
This volume is a companion to the complete catalog of Ammi Phillips’s known work, and displays representative examples. As such, it constitutes more than a ten-fold increase over previously available references. As noted in the introduction to Volume 1, I undertook this arrangement in order to better understand the evolution of Ammi Phillips’s style, to convince myself that this large body of portraiture was indeed by a single hand, and to more accurately attribute and date individual portraits. The extant references contained too few examples to create an entirely convincing continuum of work, and in many cases were confusingly arranged. It is my hope that this analysis resolves these difficulties.
I have also endeavored to include as many as possible of the evidential works, those which are signed or documented as by Phillips (see Table 1).
Arrangement
To arrange hundreds of portraits in roughly chronological sequence is no trivial matter. Paramount is the problem that few portraits are dated, either by inscription or by contemporary reference. I decided to reject, as scientifically prejudicial, any previous estimates as to the period or date of individual portraits. Rather, I started afresh, and let the portraits fall where they may. The obvious starting point, like a jigsaw puzzle, was to group portraits which were recognizably similar in pose and general appearance. The groupings were then arranged based on any factually-dated portraits. In many instances, portraits have also been arranged in proximity based on family relationships or specific locality. The underlying assumption is that Phillips often painted portraits of multiple family members or neighbors in a single visit. Where known pairs existed, these were used like dominoes to link the man or woman’s portrait to similar examples, sometimes with surprising results. When possible, portraits have been arranged with others having interestingly similar details. The process was highly iterative and full of problems but was eventually sorted out to my general satisfaction.
There is limited ability to do this with portraits of children. Despite their notoriety, children comprise only about ten percent of Phillips’s work. The portraits of children are mostly arranged on separate pages for comparison purposes within their respective periods, some of which are nearly devoid of children’s portraits.
In most instances, pairs of portraits (husbands and wives) are shown together. A small number of exceptions are made, where it would prevent a more illustrative comparison with similar portraits.
In making so many arrangements of similar portraits, I am by no means attempting to assert the sameness of Phillips’s work. To the contrary, I would draw the reader’s attention to the variety of differences in facial features, both flattering and unflattering, and in details of fabric, furniture and accoutrements. After extensive contemplation, it is the uniqueness, not the sameness, which impresses.
In many instances, I have placed unidentified portraits, with no factual basis as to their specific locale, on the same page with similar portraits. In these cases, no locale is intended to be implied, and I leave it to your judgement as to whether this is a useful comparison.
Other than placement within time periods, I have refrained from giving estimated dates on individual portraits. Whenever present, I have included any date inscriptions on newspapers or letters held in the subjects’ hands. The titles of books or periodicals are also noted and, when available, the publication date of the book or periodical is given. I have included the date of birth (for children) or date of death of the subject where it may be relevant to dating the portrait.
I have not used the descriptive title, as often used in books and sales catalogs (e.g., “Woman in Bonnet holding a Book”) as being redundant, cumbersome and often arbitrary. Instead, I have confined myself to Unidentified Man, Woman, Boy, Girl or Unidentified Child. For these unidentified subjects, the reference number (as used in Volume 1) is given in brackets.
What results from all of the above is both chronological, geographical, and stylistic in its progression.
Stylistic Progression
Ammi Phillips found a steady clientele for his work from the mid-1810’s to at least the early 1860’s, even successfully battling the headwinds of Daguerreotype photography in mid-career. He clearly had a genius for capturing likenesses. Viewed as a whole, and in detail, one cannot help being struck by the individuality of the faces. From about 1820 onward, they are as distinctive as real individuals. After close acquaintance with over 600 portraits, I now react instantly and instinctively to the sight of a Phillips portrait as being either a familiar or unfamiliar face, just as one would when an actual acquaintance or stranger approaches.
The first element one probably notices is that of formula. What might be initially regarded as repetition or similarity is, in fact, drawn from a repertoire. Whether Phillips carried with him a sketch book or simply drew from memory of previous works is unknown. Phillips was continually refining and reinventing his repertoire of poses, repeating a successful formula time and again, trying a new variation here, and discarding an old variation there, never to be used again. It was as if he carried with him, like a traveling conjurer, a constantly evolving portfolio of new and old tricks.
The second element one notices is personalization and uniqueness of detail. No two bonnets are the same. No two pieces of lace have the identical pattern. The variety and intricacy of the fabric detail is mind-boggling. Phillips obviously took great pleasure in incorporating small details which spoke to the subject’s individuality. A held letter may indicate the subject’s name and place of residence. A publication may indicate the date, locality, and perhaps the subject’s religious affiliation or political sympathies. A ledger book, a volume of legal statutes, a large bible, a pamphlet on agriculture, a treatise on anatomy or botany, each quietly announced the subject’s profession or avocation. Books, often newly-published, spoke to the subject’s intellectual currency. For women, the message is quieter but still present. A bound poem, a monogrammed psalm book, a piece of sewing in progress, a religious guide for the afflicted, each spoke to the subject’s literacy, piety, domestic occupation or personal circumstance. The precise symbolism of various natural items such as peaches, parsley sprigs or strawberry buds may be partially lost to us, but the intent is evident. Sometimes the puns are writ large, as with the portrait of young Andrew Jackson Ten Broeck under an “Old Hickory” tree.
Children are not typically overburdened with toys, whips, baskets or a multitude of pets, but are usually depicted with simplicity and some small item. The message, if any, may be subtle. There can be little doubt that the sedentary dog, which appears in so many of his portraits of children, was Phillips’s own. As a traveling companion, a means of connecting with children, and of keeping them preoccupied during tedious portrait sessions, Phillips could have found no better device.
Fashions in attire come and go over the decades: From the simple women’s caps of the 1810’s, to the elaborate beribboned bonnets of the 1820’s and 1830’s, to the more restrained fashions of the 1840‘s and 1850’s. From the gentlemen’s high white stocks and ruffled jabots of the 1810‘s and 1820’s, to the briefly-fashionable black stocks and cream vests of the early 1830’s, to the black vests and bow ties of the 1840’s and 1850’s. Only clergy and older gentlemen adhere to styles that were popular in prior decades. Furniture follows suit, from the bold fancy-painted arm and side-chairs of the 1810’s and early 1820’s, to the Hitchcock-style gold-stenciled chairs of the late 1820’s and 1830’s, to the heavy velvet-upholstered armchairs of the 1840’s and 1850’s.
The impact of Daguerreotype photography, which swept the region in the early 1840’s, must have been profound. We know that some portrait artists turned to the Daguerreotype process, or abandoned their portrait profession altogether. Phillips may have been knocked off his feet for a time. His productivity suddenly declined in the early 1840’s, and never fully recovered to the levels of the 1820’s and 1830’s. His style became less expansive and imaginative from that point forward, and something that appeals to our modern eye was lost. This may have been a question of economy of time and money, since he needed to simplify and shorten his process to complete with the sheer speed and low cost of photography. More importantly, I believe, he needed to accommodate changing tastes and expectations. The elaborate costumes and exaggerated poses of the 1830’s may have suddenly seemed unrealistic to his clientele. And the constraints of photography, with its rigid postures and shallow depth of field, may have changed the popular concept of what a portrait should look like. Whether he actually worked from Daguerreotypes during this period is unknown. Based on the formulaic poses whose use transcends years and locales, we presume that he did not. For any or all of these reasons, the result clearly imitated the competition. An exception is his portraits of children, where he managed to retain much of his old freedom. Still, he trudged on, and with apparent success. Only late in his career does his demographic shift noticeably to children and older
clientele. This may reflect the challenges of child photography, and a preference for traditional portraiture among older persons. Interestingly, some of his last works are close relatives of persons he depicted early in his career. Perhaps he was revisiting old acquaintances and capitalizing on old connections.
The stylistic periods of Phillips’s work have been well analyzed and described in the work of Mary C. Black and Stacy C. Hollander, and it is not my objective to replicate or replace those analyses. The reader is referred to Black’s introduction to Ammi Phillips: Portrait Painter, 1788-1965 (1968) and Hollander’s critical insights in Ammi Phillips: Revisiting Fifty Years of American Portraiture (1994). In making this arrangement, however, I have made a somewhat finer classification of stylistic periods. Phillips made no abrupt shifts in style, so no such classification has perfectly-defined boundaries. In the arrangement, I have used the following headings, with my personal observations as follows:
The Early Period (circa 1810-11)
The earliest indicators of Ammi Phillips’s professional activity are his advertisements as a portrait artist in Pittsfield, Berkshire County, Massachusetts in 1809 and 1810. No works are specifically known from these years, however the portrait pair of Patience Bolles Stoddard and Ashbel Stoddard, of Hudson, Columbia County, New York, may date as early as 1810. He is holding a copy of Washington’s Farewell Address in quarto, which was published in that format only in that year.
Four portraits are known from 1811. These include the portraits of Gideon Smith and Chloe Allis Judson (unrelated to each other) both inscribed 1811 and both inscribed as painted by Phillips, and also the portraits of child siblings Charles Rollin Barstow and Pluma Amelia Barstow. These are documented, in the surviving diary of their father, Dr. Samuel Barstow, as having been painted by Phillips in 1811. The aforementioned subjects were residents of the nearby towns Stockbridge, Sheffield and Great Barrington (respectively) in southern Berkshire County, Massachusetts.
The portraits of this period are the most primitive of Phillips’s known work, and are characterized by stiff poses, anatomically simplified (or absent) hands, faces lacking in distinctive detail, and oddly acorn-shaped heads. The full-length portrait of an unidentified boy in a skeleton suit, holding a hat and book, appears to date from this early period.
The “Border Limner” Period (circa 1812-18)
The “Border Limner” was an unidentified portrait artist, active along the New York-Massachusetts border prior to about 1820, ultimately identified as Ammi Phillips (see Appendix B). The portraits of Dr. Isaac Everest and Sarah Cornwall Everest are datable to September 1812, no more than a year after Phillips’s earliest known portraits. While remaining primitive to our eye, with distortions of scale and perspective, they already evidence a more relaxed and confident style. The only factually-attributable portraits from this entire period are those of John and Phoebe Haynes, both inscribed as painted by “A. Phillips” in 1814. They are convincingly similar to many other attributed works from this period.
The known subjects of this period are residents of the adjoining New York counties of Columbia, Rensselaer and Washington. The only two known portraits of this period from Massachusetts are from Goodrich Hollow, which is on a steep west-facing slope, and only accessible from Rensselaer County, New York.
The portraits of this period are notable for their pale backgrounds in a variety of hues, the depiction of limbs which are often gangly and tubular, the expansive and somewhat awkward postures, and the extensive use of chairs, tables, books and other items. The canvases of this period are often larger than Phillips’s typical later works, and with the subject placed low on the canvas. In some instances, I have shown these larger portraits at a scale which reflects their relative size (and this is so-indicated on the page heading).
Notable in this period, and the earlier Barstow portraits, are the large, narrow, full-length portraits of standing children. Phillips would not return to this format after the Border Limner period.
The Troy Period (circa 1818-21)
The Troy period, which immediately follows the Border Limner period, is named by me for the time in which Phillips was known to be residing in Troy, Rensselaer County, New York. These portraits show Phillips coming out of the wilderness, both in emulation of academic style and in increasing competence. As has been noted elsewhere, he is clearly under the influence of Ezra Ames, who dominated the nearby Albany market, and Phillips may have unsuccessfully attempted to enter that market.
Stylistic influences include more restrained and classical poses, including some bust-like poses of gentleman without hands, women clutching wrapped shawls, the depiction of drapery in the upper corner of the canvas, and dark backgrounds.
For some notable clients such as General David Robinson and The Reverend Jonas Coe, Phillips used the large canvases of his Border Limner period. But during the Troy period he seems to have abandoned large and varied canvas sizes and standardized on the 30 by 24 inch portrait which would become his mainstay for the next decade. The dark backgrounds he adopted during this period would remain his style for the next forty years.
During this period, Phillips continued to work in Rensselaer and Columbia counties, with steady clientele and apparently no further need to venture as far north as Washington County. Exceptions are the Robinson portraits, done in Bennington, Vermont, but barely four miles from Rensselaer County, New York.
Most evident in the portraits of the Troy period is Phillips’s strongly developing skill at faces. No longer are they similar, or distinguished by gross features, but have a striking individuality and personality which would continue to improve.
The earliest evidence of Phillips’s emerging classical style is the bust-like depiction of N.B. (Napoleon Bonaparte) Buell dated 1818. Both the portraits of Rev. Gabriel Gebhard and Anna Maria Magdalene Carver Gebhard of Claverack, Columbia County, New York are inscribed with the subjects’ names, “1820” and “Painted by A. Phillips” and “Delineavit A. Phillips”, respectively. Two portraits signed and dated 1821 are Dr. John McClellan and Jonathan Lane, both of Livingston, Columbia County, New York, the latter inscribed “by Mr. Ammi Phillips of Troy.” The portrait of George Selby holding a letter addressed to him in Albany, New York may in fact have been painted at the time of his marriage in May 1821, possibly at Schodack, Rensselaer County, New York.
The restrictions of the prevailing classical style did not always play to Phillips’s strengths or preferences, and he may have realized this. Gradually he returned to his more expansive and varied poses, retaining some of the academic conventions which he had emulated, combining them with his own idiosyncratic details and drawing from both worlds as suited him.
The Rhinebeck Period (circa 1821-22)
The Rhinebeck period is a bridge between the styles of the Troy period and the West Bank and Southwest Hudson portraits. This group may coincide with Phillips’s relocation of his residence to Rhinebeck in Dutchess County, New York sometime after 1820. In this time period he turns his sights to the south and west. Several subjects are in towns close to Rhinebeck, including Red Hook and Pine Plains. It also includes Phillips’s first journeys farther south to Fishkill in Dutchess County and may have been his springboard across the Hudson.
The portraits of this period continue in the Troy period motif, with single-handed or bust-style gentlemen and women in plain bonnets and ruffled collars, often with crossed wrists. Subjects are often depicted in red or yellow painted side chairs, and I originally dubbed this Phillips’s “yellow chair” period.
The few available dates include the portrait of Dr. Abijah Gilbert Benedict (and Charlotte H. Newcomb Benedict) of Red Hook, with a letter dated August 23, 1822; and the portrait of Judge Isaac Smith (and Phoebe Lewis Smith) with “The Plough Boy” (published 1819-23).
The West Bank and Southwest Hudson Portraits (circa
1822-24)
The “West Bank” portraits illustrate Phillips’s initial work in the counties bordering the west bank of the Hudson River: Ulster and Greene Counties, New York. If Phillips had been unsuccessful in penetrating the Albany market, his search for clientele among prosperous rural families south of Albany was more productive. From some evidence
we can discern that these first trans-Hudson works were produced about 1822 or 1823. An 1825 letter by John Vanderlyn indicates that Phillips had painted likenesses of the Jacobus Hardenburgh family a year or two earlier in Kingston, Ulster County, New York. The portrait of an unidentified young man holding Milton’s Works is inscribed “Ammon Philips July 20th 1823 Woodstock, New York,” in Ulster County, and is associated with this stylistic period. Identified, and tentatively identified, subjects in Ulster and Greene Counties comprise this grouping, which also includes a pair (Rev. Winslow Paige and Clarissa Keyes Paige) from south-easternmost Schoharie County, bordering Greene County.
The “Southwest Hudson” portraits represent slightly further excursions southward in Ulster County and to Orange County, New York in 1823 or 1824. Among these are several portraits of related members of the Hasbrouck family of New Paltz, Ulster County, New York, and the Thompson family of Orange County, New York, two inscribed “Painted by Ammi Phillips AD 1824.”
It is in this period that Phillips employs the device of a shawl wrapped around the female subject’s arm. These include subjects in black dresses with a white shawl with green floral border, and the striking portraits of women in white dresses with a red shawl similarly arranged. Gentleman of the period are shown in both bust-like portraits, sans hands, and in more casual poses involving fancy-painted and bamboo-painted chairs and holding books. The portrait of Daniel Bull (related by marriage to the Thompson family) shows the deeply half-shaded facial depiction which is characteristic of Phillips’s Realistic period.
The Realistic Period (mid-to-late 1820’s)
Mary C. Black referred more broadly to a period that marked “a dramatic departure from the visions of the Border period to the meticulous realism that dominated his work from about 1820 to 1828.” Within this context, Phillips employed costumes which are usually as dark as the backgrounds, and faces which are deeply shaded and with striking individuality. The identified portraits include two couples from Mount Hope, Orange County, New York signed and dated 1826. Other subjects hold books published in 1827 or 1828. Included are three portraits of infants in similar attire, only one of which can be identified as from Orange County, New York and dating to about 1828. While predominantly of subjects from Orange County, New York, this period also includes undated examples from as far west as Delaware and Chenango Counties, New York, and from Dutchess County dated 1828
The Amenia Portraits (circa 1829-30)
The Amenia portraits, although from a relatively brief period, are a large and cohesive grouping, and many of the subjects are from Amenia, Dutchess County, New York or nearby villages in northern Dutchess County. This seems to represent a peak period of productivity, when Phillips had a steady clientele in one small area. A characteristic element is a distinctively painted pillow-back chair which might have belonged to Phillips. A number of portraits also show Hitchcock-style chairs with gold stencils in various leaf patterns. There is evidence that Phillips may have used some of the commercially available decorative stencils directly on the canvas. In some, the subject appears to be gesturing toward the stenciling. Elaborate tall bonnets become the norm for female subjects of this period, each unique. A pose with long untied ribbons hanging one in front and one in back is also characteristic of the period. Several portraits are specifically dated to 1829 or 1830 from newspapers or letters in the subjects’ hands.
The Early “Kent Limner” Period (early to mid-1830’s)
No abrupt change marks the boundary of Phillips’s “Kent Limner” or “Kent” period, which Mary C. Black more broadly defines as 1829-1838. Indeed the Amenia Portraits begin to show that exuberant style. Women’s bonnets often show a triangular shape, as though Phillips was struggling to fit them within the canvas. Women may also be depicted instead with a large ruffled collar or large trim to their neckline, their unadorned head showing off their fashionable “Apollo’s Knot” hairstyle. The effect is the same, with the bonnet or collar providing a stark contrast with the dark background and clothing, and highlighting the subject’s face. Gentlemen’s fashions include pale vests and the newly-popular black stock. The pale vests appear a passing fashion, but the black stock forever replaces the white stock, except for the occasional older subject.
Most characteristic of this period is the women’s full-body leaning pose, not just the leaning head as used in the Amenia period. This would become the hallmark of Phillips’s Kent period portraits of women.
Most notable of the dated portraits is the Columbia County, New York group, which is datable to 1834.
The “Kent Limner” Period (circa 1834-1839)
In the summer of 1836, Phillips’s commissions took him to the isolated but prosperous (due to iron ore) village of Kent, Connecticut, just across the state border from Dutchess County, New York. It is unknown how many portraits of Kent’s leading families Phillips painted that summer, but eight survived. These came to light as a group 88 years later (1924) when they were exhibited at a local street fair. The then-forgotten artist was dubbed the “Kent Limner” and was lauded by Mrs. Helen Carlotta Nelson, wife of a local artist, in International Studio in 1925. The stylized portraiture, with upright gentlemen and leaning ladies with elaborate bonnets and hands in the lower-left corner of the canvas became exemplars of what became known as Phillips’s “Kent Limner” or simply “Kent” period. Unfortunately, Mrs. Nelson also promoted the myth that these were faces added to stock bodies. The boundaries of Phillips’s Kent Limner period are not crisp, but are centered, by definition, on the Kent portraits of 1836.
These eight portraits, which are of special significance in the emergence of interest in anonymous American folk portraiture are shown on a single page, along with an additional portrait from neighboring Wingdale, N.Y. which was probably also executed in 1836 and was also featured in the 1924 Kent exhibit.
The portraits of this fully-developed period are characterized by somewhat lighter backgrounds of medium brown, boldly stylized black dresses with balloon sleeves, and women with a characteristic leaning posture, usually (but not always) to proper right on a small table, often with books. Curiously, Phillips mostly dispenses with furniture, other than the occasional sofa, and women of this period typically have no visible means of support. Women’s heads are sometimes unadorned, but are more often depicted with elaborate bonnets. The darkness of the women’s black dresses and men’s black jackets and stocks are boldly contrasted with broad white collars and white shirts.
During this period, Phillips seems to have worked primarily in Dutchess County, New York, with excursions slightly south to Putnam and Westchester counties. By 1836, Phillips was listed as a Poughkeepsie artist, and sometime before 1838 he had moved his residence from Rhinebeck to Amenia, Dutchess County, New York.
The Late “Kent Limner” Period (circa 1839-40)
The portraits of the late 1830’s and 1840 use a reliable formula, somewhat more restrained than the most exuberantly stylized portraits of the mid-1830s. Gentlemen are depicted in what almost appears as a standing pose. Women’s headwear is less elaborate, or absent, and the poses with close-together hands and frequent use of small books are less imaginative. A distinctive prop of this period is a small table covered in green leather with brass tacks.
The datable portraits which continue in the “Kent Limner” tradition include Judge Ebenezer Foster (and Frances Sprague Foster) of South East, Putnam County, N.Y, with a letter dated 1839; Gerard Crane and Roxanna Purdy Crane of Somers, Westchester, New York, inscribed 1839; Reverend Ashbel Green, recorded as painted by “Phillips” in July 1840 in Bedford, Westchester Co., N.Y.; and George C. Sunderland, also of Somers, Westchester County, New York, boldly inscribed in Phillips’s hand: “By Mr. Ammi Phillips in the fall 1840.”
The Children in Red Dresses
Although shown on a single page for comparison purposes, this grouping may represent at least three periods. The fact that all nine are unidentified represents a mystery and a challenge. The first unidentified boy and girl (top row) from the Balken collection, now at Princeton, are likely the earliest. It has been suggested, from provenance, that the child with teething ring may be related to an unidentified man with quill from the Realistic period (midto-late 1820’s). The portrait of an unidentified child, aka “Hannah Standish”, bears an extremely close resemblance to the identified portrait of James Mairs Salisbury (born 1834). And the three similar portraits of young girls in red dresses with necklaces are also similar to the portrait of Andrew Jackson Ten Broeck which is dated 1834.
It has been suggested, based on provenance, that the iconic portrait of the girl holding a white cat (page center) may belong to the Raymond family, and hence the related Foster family, including Augusta Maria Foster. By stroke of luck, and close scrutiny, the portraits of Frances Sprague Foster and Judge Ebenezer Foster are datable to 1839. On this basis, and a satisfying resemblance between the child and the rosy-cheeked couple, I have formed a hypothesis that the child is Ann Amelia Foster (1833-1883). This remains speculative, however.
Of the three very similar portraits (middle row and lower center), the number of necklace strands may be a device to distinguish between related individuals. An examination of the number of strawberries held by the subjects of these and other portraits (e.g., John Younie Luyster) leaves little doubt that they represent the child’s age.
The two portraits with red drapery, depicting somewhat older children, may date from a slightly later period, and bear some similarities to the portraits of the “Litchfield Children” [q.v.].
The Early Daguerreotype Period (early to mid-1840’s)
An abrupt change in Phillips’s style is evident in the early 1840’s, which perfectly coincides with the stunningly swift popularity of Daguerre’s photographic process in the United States. Most pronounced is the introduction of the upholstered armchair with men depicted from a side angle and slightly above, as though shown in an aisle seat of a theater or train. The women are less severely affected but are shown in an equivalent sofa pose which Phillips had abandoned a decade earlier. Smaller bonnets have become the norm.
Dating is available starting about 1843, with Joseph Bogardus’ “Anti-Bank Democrat” (published 1842-43), and Harriet Simmons Hasbrouck’s book dated 1843. Two newspapers of 1845 are depicted, and the portrait of Rachel Divine is dated 1846 in Phillips’s careful block lettering.
One hallmark of this period is the use of side light crossing the page of a newspaper or book, leaving part of the page brightly lit, and the rest in shadow. This device was used frequently by Phillips in the mid-1840’s but not before or after.
The Daguerreotype Period (late 1840’s and 1850’s)
During this period, Phillips painted what Stacy C. Hollander has described as “a virtual army of black-suited, stern-faced New Yorkers.” The poses are drummingly repetitive for both men and women. Phillips depicts most men facing proper left, and one-handed, usually with an unobtrusive book or newspaper. Black stocks have evolved into black ties, and pleated shirts are ever present. Women are mostly facing proper right, with an arm resting on a sofa arm, and a small book or other object held in the left hand. Gone are the elaborate headwear and occasionally colorful dresses. All is black and restrained, as was the fashion of the period, and women are frequently bareheaded. Only in the faces themselves, and in the meticulous depiction of lace, does Phillips make each portrait unique. Occasionally, the gentleman is holding a dated newspaper, and some identifiable books have publication dates which lend a clue as to date and occupation.
By 1850, Phillips had moved from Amenia to the town of North East, Dutchess County, New York.
The Litchfield Children (circa 1848-53)
As noted earlier, Phillips’s portraits of children are a refreshing departure from the rigid formality and dark tonality of his Daguerreotype period. Phillips took obvious delight in devoting extra time and artistic license to depicting juvenile subjects of this period. Among these are a number of children in blue and red dresses from Litchfield County, Connecticut. Included in this grouping are several adult females with paisley shawls who are the sister or mother of a child depicted in the same portrait or a related portrait. Although no specific dating is available, the ages of the known subjects date these from the late 1840’s to the early 1850’s.
The portrait of Susan W. Kinney was possibly done on the occasion of her sister’s marriage to Lucius Culver in 1853, which took place at the home of Ammi Phillips, who was a cousin of their father. The portrait, prior to damage and canvas reduction, was said to have included white pantalets and a cat and flower in the subject’s lap. In its original form, it may therefore have resembled the unidentified girl with flower and cat (see Children in Red Dresses, lower left).
The Late Period (mid-1850’s to early 1860’s)
In the early 1850’s Phillips moved from the town of North East in Dutchess County, New York to Berkshire County, Massachusetts, first moving to New Marlborough by 1855 and finally to Curtisville, located between the villages of Stockbridge and West Stockbridge, by 1860. This brought him full circle to his Berkshire County base of fifty years earlier. He also came full circle with a portrait of the now-elderly daughter-in-law of Gideon Smith of Stockbridge, who he had painted fifty years earlier. Commissions from the Beckwith and Husted families also represented a connection to his long-ago Rhinebeck period.
Few portraits from Phillips’s last decade are dated. Among these are three portrait pairs from West Stockbridge, dated 1857, and his portrait of a man with a newspaper “Agriculture” dated November 30, 1860 The last known portraits are a small group from Stanford, Dutchess Co., N.Y., including the portrait of William H. Steward “by A. Phillips 1862” and that of Elizabeth Harris Husted, dated “by A. Phillips, June 20th 1862.” These are supported by a daybook entry, dated March 15, 1862, by Phineas Knapp Sackett of Stanford, Dutchess Co., N.Y. noting advance payment to Phillips for a portrait.
Phillips’s productivity declined, either by choice or circumstances, in his last years, and the radius of his travels decreased to a relatively short distance from his home. As noted earlier, a disproportionate number of his late subjects are small children and the elderly Several of the late portraits are distinguished by a lack of subtlety in the shading, resulting in a certain flattening and more pronounced facial planes. Another curious hallmark, increasing from the mid-1850’s, is a pronounced distortion in the form of a diagonal elongation from the upper left to the somewhat lower right of the canvas. Whether these changes were by conscious choice, or were an artifact of failing eyesight, is unknown.
Addenda – Contemporary Hudson Valley Portraiture
For comparative purposes, I have included five examples of Phillips’s potential competition among academic portraitists, which may also have been early sources of inspiration. These are works attributed to Reuben Moulthrop (1763-1814), Ezra Ames (1768-1836), John Vanderlyn (1775-1852), Bass Otis (1784-1861), and John Vanderlyn II (1805-1876).
The Evidential Works
At the time of the first 1965-66 exhibit there was knowledge of 16 evidential works, those either signed by Phillips or with contemporary records of their creation by Phillips. Of these, only five were included in the exhibit and catalog examples. This left ample room for skepticism as to whether Phillips was solely responsible for this varied collection of portraiture. The fact that the 1965 catalog images were arranged alphabetically by the subject’s name no doubt added to the skepticism, with images spanning 50 years effectively juxtaposed at random.
By 1968 the number of evidential examples had increased to 21, and 11 were shown. Although a marked improvement, no signed examples had been discovered from the years 1812 through 1819. This still left a significant stylistic and evidentiary gap between the earliest known example of 1811 and Phillips’s far more accomplished work of the 1820’s. And the issue of whether Phillips was the Border Limner remained technically unproven.
By 1994 the number of evidential works had increased by half again, with important new discoveries added from 1811, 1814 and 1819, and several from the 1820’s. Of the new total, however, only five were included among the 50 exhibit and catalog examples. Although the proof existed, without extensive research it was not entirely evident.
In this catalog we have increased the total number of illustrated examples twelvefold, and we have included all 37 of the evidential works now known (see Table 1). We will leave final judgement to the reader, but with the added depth and continuity of examples, and the inclusion of all known evidential examples, the unbroken evolution of Phillips’s work seems clear.
Table 1 – Portraits Signed or Recorded as by Phillips
Gideon Smith, Stockbridge, Berkshire, Mass., 1811
Chloe Allis Judson, Sheffield, Berkshire, Mass., 1811
Pluma Amelia Barstow, Great Barrington, Berkshire, Mass., 1811
Charles Rollin Barstow, Great Barrington, Berkshire, Mass., 1811
John Haynes, Hoosick, Rensselaer, N.Y., 1814
Phebe Haynes, Hoosick, Rensselaer, N.Y., 1814
James Van Schoonhoven, Troy, Rensselaer, N.Y., 1819
Anna Maria Carver Gebhard, Claverack, Columbia, N.Y., 1820
Rev. John Gabriel Gebhard, Claverack, Columbia, N.Y., 1820
Dr. John McClellan, Livingston or Clermont, Columbia, N.Y., 1821
Jonathan Lane, Livingston, Columbia, N.Y., 1821
Gentleman Holding Milton's Works, Woodstock, Ulster, N.Y., 1823
Alexander Thompson II, Town of Crawford, Orange, N.Y., 1824
Hannah Bull Thompson, Town of Crawford, Orange, N.Y., 1824
Catharine Helen Miller Bull, Town of Crawford, Orange, N.Y., c. 1824
Daniel Bull, Town of Crawford, Orange, N.Y., c. 1824
James Ketcham, Cornwall, Dutchess, N.Y., 1826
Anne Stoddard Pelton, Amenia, Dutchess, N.Y., probably, 1826
Peleg Pelton, Amenia, Dutchess, N.Y., probably, 1826
Alsop Vail, Mount Hope, Orange, N.Y., 1826
Frances Seybolt Vail, Mount Hope, Orange, N.Y., 1826
Philo Reed, Amenia, Dutchess, N.Y., 1829
Abigail Reynolds Reed, Amenia, Dutchess, N.Y., 1829
Abigail Penoyer Reynolds, Amenia, Dutchess, N.Y., 1829
George Greenwood Reynolds, Amenia, Dutchess, N.Y., 1829
Leonard William Ten Broeck, Clermont, Columbia, N.Y., 1832
Helen Livingston Ten Broeck, Clermont, Columbia, N.Y., 1832
Catherine Ten Broeck de Witt, Germantown, Columbia, N.Y., c. 1834
William Henry de Witt, Germantown, Columbia, N.Y., c. 1834
Anna Benner Ten Broeck, Clermont, Columbia, N.Y., 1834
Jacob Wessel Ten Broeck, Sr., Clermont, Columbia, N.Y., 1834
Helen [Lena] Ten Broeck, Germantown, Columbia, N.Y., 1834
Anna Farrington Noxon, Poughkeepsie, Dutchess, N.Y., 1837
Rev. Ashbel Green, Bedford, Westchester, N.Y., 1840
George C. Sunderland, Somers, Westchester, N.Y., 1840
William H. Stewart, Stanford, Dutchess Co., N.Y., 1862
Elizabeth Harris Husted, Stanford, Dutchess, N.Y., 1862
Key:
Geographic Analysis
The image of the itinerant portrait artist as a Johnny Appleseed is romanticized and does not quite fit Phillips. He owned homes and had a large family. This he used as a central base for commissions which took him to neighboring towns or counties. His ventures took him across the Hudson River, or into Connecticut, seemingly relying on word of mouth, and exhausting the local supply of relatives and neighbors of his subjects. Sometimes he appears to have visited a place only once or twice, perhaps repeating the visit the following year, never to return. His well-known Kent period was named for eight portraits completed over the course of perhaps two months in the summer of 1836, and he may never have crossed the state border into nearby Kent, Connecticut again.
On the basis of his birthplace in Connecticut, his identification as the Kent Limner, and the first major exhibit of his work by the Connecticut Historical Society, Phillips has a well-established image of being a Connecticut portraitist. An examination of the data shows that he was overwhelmingly a New York State artist (see Table 2). On the basis of 500 credible subject identifications, we find that 77% of his portraits were executed in New York State, 12% in Connecticut, and 11% in Massachusetts. During his most prolific decade of the 1820’s, not a single work is known from Connecticut. Only late in his career, in the 1850’s, does his base shift strongly to Connecticut and Massachusetts.
If we rely on specifically datable portraits (see Table 3) the geographic chronology of Phillips’s work from 1811 to 1862 breaks down as follows:
1) A beginning in the southwest corner of Berkshire County, Massachusetts in 1811 in the nearby towns of Stockbridge, Great Barrington and Sheffield.
2) An extended Hudson Valley period from 1812 to 1847, mostly in New York State on the east side of the Hudson River, except for excursions to the west side of the river during the 1820’s and a brief foray across the state border into Kent, Litchfield Co., Connecticut in mid-1836.
The Hudson Valley period may be further broken down into:
- A northerly subperiod in Washington, Rensselaer and Columbia counties from 1812 to 1821 corresponding to his residence in Troy, New York (1820 census) with his wife and children.
- The aforementioned ‘West Bank’ subperiod which took him across the river to Ulster and Orange counties by 1823 and continued until at least 1826. There are undated portraits which suggest that he also did work in Schoharie and Sullivan counties at this time, and may have worked sporadically on the west side of the Hudson in Greene and Ulster counties as late as the mid-1830’s.
- A subperiod close to home in Dutchess County from 1828-32, and coincident with the death of his first wife and prompt remarriage. Paradoxically, there are undated portraits which suggest that he may have done work in Delaware and Chenango counties around 1829, his furthest journey from home. This may have been prior to his wife’s death in February 1830.
- A return to Columbia County in 1832 and 1834.
- The aforementioned Kent, Connecticut border-crossing in 1836.
- A venture as far south as Putnam and Westchester counties in 1839-40.
In the remainder of these decades he mostly confined himself to Dutchess County where his family was residing in Rhinebeck (1830 census) and Amenia (1840 census).
3) A Litchfield County, Connecticut period from 1848 to 1850, beginning with portraits of relatives near his childhood home of Colebrook, Connecticut. This coincides with his relocation to the town of North East, Dutchess County, New York (1850 census) bordering on Litchfield county.
4) A late period from 1857 to 1862 with a return to southwestern Berkshire County, Massachusetts and his residence in New Marlborough, Massachusetts (1855 census) and Curtisville (Stockbridge), Massachusetts (1860 census) with a final short excursion to northern Dutchess County, New York in 1862.
Geographic Outliers
In the earlier checklists there exists some evidence that Phillips travelled further west and north in New York State, as far as the Mohawk Valley, Finger Lakes, and northern Adirondacks. Further research has mostly discounted these assertions, including:
- Arthur Leonard “Lenny” Olcott of Cherry Valley, Otsego County, New York [portrait unlocated], done from a a daguerreotype by a “Mr. Phillips” in 1857 Known only from references in the diary of the subject’s sister. This was found, on a full reading of the original diary, to have been done at an artist’s studio in lower Manhattan, possibly that of artist and daguerreotypist Benjamin R. Phillips (1821-1881).
- Catherine A. May (Mrs. Lucius Stimson) of Cortlandville, Cortland Co., N.Y., circa 1830 [National Gallery of Art]. Recorded as from upper New York State by dealer Albert W. Force of Ithaca, N.Y. We have found that she was residing with her newlywed husband in Delhi, Delaware Co., N.Y. at the estimated date of the painting.
- Jane Bevier Deyo (Mrs. Abraham Deyo) of Guilford, Chenango Co., N.Y., circa 1824. The location “Guilford” more likely refers to the hamlet of Guilford in the Town of Gardiner, Ulster Co. N.Y.
- Mariah Durkee Soggs (Mrs. Ananias R. Soggs), purportedly of Genesee Co., N.Y., circa 1831, appears to have been painted at a date when the oft-moved Ananias Soggs family was living in Woodstock, Ulster Co., N.Y.
- Mr. and Mrs. Vail from Afton, N.Y. [Chenango Co.]. Also suggested as possibly being James and Anna Vail of Hamden, Delaware Co., N.Y. The identity of the sitters remains speculative and appears, along with the tentative locations, to be surmised only from recorded occurrences of the Vail surname.
- Mrs. Smith of Elmira, N.Y. [Chemung Co.] appears to be an assigned name and no specific identity or connection with that location has been established.
- A boy of the Cook family, aka Samuel Cook, Jr., possibly Ticonderoga, Essex Co., N.Y., circa 1817, about whom no supporting biographical or geographic evidence is found.
- Mary Morrison, possibly Watertown, Jefferson Co., N.Y., circa 1835, who purportedly died in that location but about whom no supporting biographical or geographic evidence is found.
- Mrs. Caleb Keese, purportedly of Keeseville in Clinton Co. and Essex Co., N.Y., circa 1825 [portrait unlocated], about whom no supporting biographical or geographic evidence is found.
The above notwithstanding, the portrait identified by later inscription as Leonard Newton Allis of Coventry, Chenango Co., N.Y., circa 1829, has strong supporting evidence of his residence in that location.
A group of four related portraits constitute the only examples from Schoharie and Montgomery counties, New York. The subjects, which include Rev. Winslow Paige and Clarissa Keyes Paige, Anna Shuler Cady, and Louisa Heyer Jackson, are all related by marriage and all have ties to Florida, Montgomery Co., N.Y. The Paige portraits were attributed to “Phillips” by Thurston Thacher in 1952 and were included in the Holdridges’ 1965 and subsequent checklists and in the 1968 exhibit. The other two are more recent, albeit tentative, attributions. None are entirely typical of Phillips’s work (see page 36).
Circa 1811: The Early Period – Berkshire Co., Mass. (shown to relative size)
Smith 1
Allis
2 inscribed “Ped by A. Phillips 1811” oil on panel inscribed “P d By A Phillips Stockbridge, Berkshire Co., Mass. October 18th 1811 / C Judson Agd 72" Sheffield, Berkshire Co., Mass.
recorded
Unidentified Boy
Early to Mid-1810’s: The Early and “Border Limner” Periods – Columbia Co., N.Y. and unidentified
Early to Mid-1810’s: The “Border Limner” Period – Washington, Rensselaer and Columbia Co., N.Y.
Early to Mid-1810’s: The “Border Limner” Period – Columbia Co., N.Y. and vicinity
Sarah Cornwall Everest and Dr. Isaac Everest 16 holding open letter dated “September 17, 1812” New Lebanon, Columbia Co., N.Y.
Mrs. Goodrich & child and Mr. Goodrich 17 and 18 Goodrich Hollow, Berkshire Co., Mass. (accessible only via Columbia Co., N.Y.)
Mid-1810’s: The “Border Limner” Period – The Dorr family, Chatham, Columbia Co., N.Y. (relative sizes)
Mid-1810’s: The “Border Limner” Period – Hoosick and Hoosick Falls, Rensselaer Co., N.Y.
Mid-1810’s: The “Border Limner” Period – Pittstown, Rensselaer Co., N.Y. and unidentified
Wilbur Sherman and Sarah Stearns Sherman & daughter 31 inscribed “Aged 39 Years 1815” and “Aged 26 Years 1815” Pittstown, Rensselaer Co., N.Y.
Unidentified Woman [694] 33 with “Sparrman’s Voyage” vol 2
Caleb Sherman 32 father of Wilbur Sherman [left] and Alsa Sherman Slade [p. 23] Pittstown, Rensselaer Co., N.Y.
Johan Georg Fake, Jr. and Catherine Sneider Fake 34 inscribed “George Fake, Age 49 years, and 9 months. Nov.16, 1815” and “Catherine Fake, Age 45 years 5 months - Nov.16, 1815” Pittstown, Rensselaer Co., N.Y.
Mid-1810’s: The “Border Limner” Period – Rensselaer Co., N.Y. (all large-format, shown at reduced scale)
Mid-to-Late 1810’s: The “Border Limner” Period – Rensselaer Co., N.Y. and unidentified
Mid-to-Late 1810’s: The “Border Limner” Period – Washington and Rensselaer Co., N.Y. (shown to relative size)
Circa 1818-20: The Troy Period – Rensselaer Co., N.Y. and vicinity (shown to relative size)
Sheriff of Bennington County from 1789 to 1811 and United States Marshall until 1819
Bennington, Vermont (adjoining Hoosick, Rensselaer Co., N.Y.)
Pastor of First Presbyterian Church from 1792 to 1822
Troy, Rensselaer Co., N.Y.
Circa 1818-20: The Troy Period – Rensselaer and Columbia Co , N.Y. and unidentified
Circa 1820-21: The Troy Period – Rensselaer and Columbia Co , N.Y. and unidentified
Circa 1820-21: The Troy Period – Rensselaer and Columbia Co., N.Y. and unidentified (continued)
Circa 1820-21: The Troy Period – Rensselaer and Columbia Co., N.Y. and unidentified (continued)
Circa 1815-22: The Troy Period – Young People
Circa 1821-22: The Rhinebeck Period – Fishkill, Dutchess Co., N.Y.
Circa 1821-22: The Rhinebeck Period – Red Hook and Pine Plains, Dutchess Co., N.Y. and unidentified
Circa 1821-22: The Rhinebeck Period – Red Hook and Pine Plains, Dutchess Co., N.Y. and unidentified (cont’d.)
Circa 1821-22: The Rhinebeck Period – Lithgow, Dutchess Co., N.Y. and unidentified
Phoebe Lewis Smith and Judge Isaac Smith 110 holding “The Plough Boy” (pub. Albany, N.Y., June 1819 to July 1823) Lithgow, Town of Washington, Dutchess Co., N.Y.
Unidentified Man and Woman [627 and 731] 111 holding “[The] Plough Boy” and strawberry sprig
Circa 1822-23: The West Bank Portraits – Ulster Co., N.Y.
Circa 1823-24: The Southwest Hudson Portraits – Ulster Co., N.Y. and related Dutchess Co., N.Y
Circa 1823-24: The Southwest Hudson Portraits – Ulster, Sullivan and Orange Co., N.Y.
Circa 1824: The Southwest Hudson / Early Realistic Period – Orange Co., N.Y. and unidentified
Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified
Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)
Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)
Mid-to-Late 1820’s: The Realistic Period – Orange, Dutchess and Ulster Co., N.Y. and unidentified
Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified
Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)
Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)
Mid-to-Late 1820’s: The Realistic Period – Delaware and Chenango Co., N.Y. and unidentified
Mid-to-Late 1820’s: The Realistic Period – Dutchess Co., N.Y. and unidentified
Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity
Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity (continued)
Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity (continued)
Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity (continued)
Circa 1830: The Early “Kent Limner” Period – Greene Co., N.Y. and unidentified
Circa 1832: The Early “Kent Limner” Period – Columbia Co., N.Y. and unidentified
Circa 1833: The Early “Kent Limner” Period – Dutchess and Ulster Co., N.Y. and unidentified
Early 1830’s: The Early “Kent Limner” Period – Greene and Ulster Co., N.Y. and unidentified
Circa 1834: The Early “Kent Limner” Period – Columbia and Ulster Co., N.Y. and unidentified
Circa 1834-35: The Early “Kent Limner” Period – Dutchess Co., N.Y. and unidentified
Early to Mid-1830’s: The Early “Kent Limner” Period – Dutchess Co., N.Y. and unidentified
Circa 1836: The “Kent Limner” Portraits - Kent, Litchfield Co., Conn. and vicinity
Mid-1830’s The “Kent Limner” Period – Dutchess Co., N.Y. and unidentified
Unidentified
Mid-1830’s: The “Kent Limner” Period – Ulster Co., N.Y. and unidentified
The above two paintings were reported stolen in
Mid-1830’s: The “Kent Limner” Period – Litchfield Co., Conn and Westchester Co., N.Y.
Mid-to-Late 1830’s: The “Kent Limner” Period – Dutchess and Putnam Co., N.Y. and unidentified
Mid-to-Late 1830’s: The “Kent Limner” Period – Dutchess and Putnam Co., N.Y. and unidentified (continued)
from
Mid-to-Late 1830’s: The “Kent Limner” Period – Dutchess and Putnam Co., N.Y. and unidentified (continued)
Circa 1838-40: The Late “Kent Limner” Period – Dutchess Co., N.Y. and unidentified
Circa 1838-40: The Late “Kent Limner” Period – Westchester Co., N.Y. and unidentified
Circa 1838-40: The Late “Kent Limner” Period – Dutchess Co., N.Y., Litchfield Co., Conn. and unidentified
Mid-1830’s: The “Kent Limner” Period – Well-suited Boys (shown to relative size)
Jacob Wessel Ten Broeck, Jr. (reaching for pear) and William Henry Ten Broeck (holding peach) 370 twin sons of Anna Benner and Jacob Wessel Ten Broeck [p. 61] inscribed with names and “Aged 10 Years 1834” Clermont, Columbia Co., N.Y.
Younie Luyster (b. 1828) 371 holding sprig with ten strawberries LaGrangeville,
Rachel Ann Maria Overbagh Ostrander (holding handkerchief Unidentified Boy with peach and book 372 embroidered “R.A.M.O.”) and son Titus Ostrander (b. 1829) 373 possibly Aaron D. Smith (b. 1830) daughter and grandson of Maria and Peter Overbagh [p. 37] Catskill, Greene Co., N.Y. Saugerties, Ulster Co., N.Y.
Late 1820’s to late 1830’s: The Children in Red Dresses (shown to relative size)
Late 1820’s to late 1830’s: More Children in Dresses (shown to same relative size as preceding pages)
Late 1830’s: The Benjamin Haxtun family, Beekman, Dutchess Co., N.Y. (shown to relative size)
William Woolley Haxtun (b. 1829) 389
Almira Haxtun (1831-1841) 390 with dog and drapery with rose sprig and kitten 391 Beekman, Dutchess Co., N.Y. Beekman, Dutchess Co., N.Y. (canvas reduced, with fragment preserved)
Early to Mid-1840’s: The Early Daguerreotype Period – Fishkill, Dutchess Co., N.Y. and unidentified
Early to Mid-1840’s: The Early Daguerreotype Period – Fishkill, Dutchess Co., N.Y. and unidentified (continued)
Early to Mid-1840’s: The Early Daguerreotype Period – Sharon, Litchfield Co., Conn and unidentified
Mid-1840’s: The Daguerreotype Period – Dutchess Co., N.Y. and unidentified
Mid-1840’s: The Daguerreotype Period – Dutchess Co., N.Y. and unidentified (continued)
Mid-to-Late 1840’s: The Daguerreotype Period – Litchfield Co., Conn. and unidentified
Mid-to-Late 1840’s: The Daguerreotype Period – Litchfield Co., Conn. and unidentified (continued)
Circa 1850: The Daguerreotype Period – Litchfield Co., Conn. and unidentified
Circa 1850: The Daguerreotype Period – Litchfield Co., Conn. and unidentified (continued)
Circa 1853: The Daguerreotype Period – The Hotchkiss family, Torrington, Litchfield Co., Conn.
Circa 1848-53: The Litchfield Children and related portraits with Paisley shawls (shown to relative size)
Circa 1848-53: The Litchfield Children (shown to same relative size as preceding page)
Edward H. Bronson (b. 1842) and Henry T. Bronson (b. 1845) 461 sons of Theron Bronson [p. 83] and Maria Rachel Munsill Bronson [pp. 83, 88] holding “Picture Multiplier” (published 1843-47) Winchester, Litchfield Co., Conn.
Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass. and unidentified
Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass. and unidentified (continued)
Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass. and unidentified (continued)
with
Mr.
“Dunglison’s Human Physiology” with book “History” with book “History of the U.S.” (published 1832 to 1856) (unknown locale)
Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass and unidentified (continued)
Circa 1857: The Late Period – West Stockbridge, Berkshire Co.,
Circa 1860: The Late Period – Stockbridge, Berkshire Co., Mass. vicinity and unidentified
Circa 1860: The Late Period – Stockbridge, Berkshire Co., Mass. vicinity and unidentified (continued)
Circa 1860: The Late Period (continued) – shown to relative size
Circa 1862: The Late Period – Stanford, Dutchess Co., N.Y.
These are the last dated portraits by Ammi Phillips
Boy of the Overbagh family, probably Ulster Co., N.Y. 525
Eleanor Ward Humphrey 526 with drape, patterned floor covering, and dog at feet
Albany, N.Y., circa 1819 attributed to John Vanderlyn II (1805-1876) by Ezra Ames (1768-1836) (cf. Kent Period children with dogs) (cf. Troy Period women with shawls)
Ann Dunkin and Dunkin Henry Van Rensselaer 527
Albany, N.Y., circa 1818
William Cockburn 528
Kingston, Ulster Co., N.Y. by Bass Otis (1784-1861) attributed to John Vanderlyn (1775-1852) (cf. mid-to-late 1820’s infants in white dresses, p. 49) (cf. Phillips’s portrait of William Cockburn, p. 36)
(cf. Gen David Robinson, p. 26)
Appendix A: Ammi Phillips Family and Historical Records
Ammi Phillips’s hundreds of surviving works, many dated or datable, provide an exceptional record of his whereabouts over a period of half a century, as illustrated elsewhere in this volume. Biographical sketches have also been provided in other publications. Nevertheless, we thought it useful to other researchers to document what we know of his family and their historical record as follows.
Ammi Phillips was born on April 24, 1788 (or 1787) in Colebrook, Litchfield Co., Connecticut 1 He was the son of Samuel Phillips (1760-1842), a farmer and Revolutionary War veteran, and Millea (Kellogg) Phillips (1763-1861). His paternal grandparents were Samuel Phillips (1737-1792) and Elizabeth (Ayer) Phillips (1735-1778), early land purchasers in Colebrook, Connecticut. His maternal grandparents were Isaac Kellogg (1727-1800) and Martha (Merrill) Kellogg (1727-1807) of New Hartford, Litchfield Co., Connecticut. Ammi was apparently named for Rev. Ammi R. Robbins (1740-1813), Congregational minister in adjacent Norfolk, Connecticut and a Revolutionary War chaplain [see opposite]. By general consensus, Ammi Phillips was born in Colebrook, Litchfield Co., Connecticut in 1788. The various census ages, however, yield a possible birth year between 1786 and 1788. The ages given in his death notice (78) and cemetery inscription (78 years 3 months) imply his birth in April 1787.
Ammi Phillips was one of purportedly 11 children born to his parents, of whom eight are known. These include an older brother, John Ayer Phillips, who may have moved to New York State by 1795; two younger brothers, Halsey Phillips, 1790-1882 (married Sally Hungerford) and Benjamin Franklin Phillips, 1802-1882 (married Emeline Beckwith and later Lucretia A. Miller); and four younger sisters, Harriet Phillips, 1793-1889 (Mrs. Eri Tuttle), Cleora Phillips, 1797-1875 (Mrs. Asahel Canfield), Calista Phillips, 1798-1851 (Mrs. Nathan Allen), and Millea Cordelia Phillips, 1809-1876 (Mrs. Daniel Loomis). Ammi Phillips’s parents and all of his younger siblings eventually moved from Connecticut to northeastern Ohio. 2, 3
The 1800 census for the Samuel Phillips household in Colebrook, Connecticut enumerates three male children and four female children which would account for all of the above. The 1810 census still enumerates three male children and four female children, but includes one male born since 1800 and two females born since 1800. There remains one male age 16 to 25, but this is likely Ammi’s slightly younger brother Halsey (age 20), implying that Ammi (age 22) has left the household by 1810. This differs from the Holdridges’ interpretation that this remaining male was Ammi himself. By 1820 there are no new children born since 1810, the number of male children remains three and the number of female children remaining in the household has reduced to one.
Beginning in 1808 Ammi Phillips’s father, Samuel Phillips, assisted with a party surveying 16,000 acres of land in Ashtabula County, Ohio, which township was named Colebrook in honor of Colebrook, Connecticut. Ammi’s brother Halsey Phillips was among the first to settle permanently in Colebrook, Ohio in 1814. Samuel Phillips made his fourth and final trip to Colebrook, Ohio in the spring of 1821 and his wife and three of Ammi’s sisters joined him later that year, as did Halsey Phillips’s wife by the fall of 1821, making them the second and third families to settle in the township. They were joined by Ammi’s youngest brother Benjamin Franklin Phillips by 1828 and probably earlier. A fourth married sister, Harriet Phillips Tuttle, moved there from Colebrook, Connecticut in 1839. 4, 5
1 Isaac Huntting, History of Little Nine Partners of North East Precinct and Pine Plains, New York, Duchess County, Vol. I. (Amenia, N.Y.: Chas. Walsh & Co., 1897) p. 373, gives Phillips’s birth date as April 24, 1788.
2 Mrs. Alfred Tyler Perry, “Colebrook, Litchfield Co., Conn., People who Removed to N. Y. State or ‘West’ 17891840,” The New York Genealogical and Biographical Record, Vol. LIV, No. 1 (January 1923): p. 72.
3 Bob Grigg, “Historic Bytes: Colebrook, Ohio Revisited,” reprinted from Winsted Journal, courtesy Colebrook [Connecticut] Historical Society.
4 Grigg.
5 Mrs. Gertrude Van Rensselaer Wickham (editor), Memorial to the Pioneer Women of the Western Reserve, Part IV, (Women’s Department of the Cleveland Centennial Commission, February 1897) pp. 800-805: Pioneer Women of Colebrook, 1819-1850.
Ammi’s mother, Millea Phillips, was reputedly an energetic woman who not only made the arduous 500-mile trek to Ohio in the record time of 28 days, but walked the forested township caring for the sick. 6, 7 Ammi’s father made that journey to or from Ohio no less than seven times. It is apparent that Ammi may have inherited a stamina and proficiency with horse and wagon that served his itinerancy well.
Ammi’s father, Samuel Phillips, died in 1842 at age 82 in Colebrook, Ohio and is buried in North Colebrook Cemetery, New Lyme, Ashtabula Co., Ohio. Ammi’s mother, Millea Kellogg Phillips, died in 1861 at age 98 in Colebrook, Ohio and is buried with her husband. Until her death she received a Revolutionary War veteran widow’s pension of four dollars per month. 8
Earliest professional records
Having reached maturity, and with his family and siblings having set their sights on Ohio, Ammi Phillips struck out on his own before 1810. In July 1809 and again in January 1810 he advertised in the Berkshire Reporter as a purveyor of “correct likenesses” at William Clarke’s tavern in Pittsfield, Mass. 9 The advertisement implies that these were profile portraits. The diary of Dr. Samuel Barstow of Great Barrington, Berkshire Co., Mass., dated October 6, 1811 mentions small profiles of himself and his wife taken by Phillips. 10 Nothing more is known of these early profile portraits and any that survive may remain unrecognized. Phillips apparently felt no further need of advertisement and there are no others known over the next 50 years.
First marriage and family
Ammi Phillips was married on March 18, 1813 in Nassau, Rensselaer Co., N.Y., to Laura Brockway of Schodack, Rensselaer Co., N.Y. She was the daughter of Joseph Brockway (1760-1822) and Jane (Doty) Brockway (17571824) who had moved to Schodack from Sharon, Connecticut in 1789. According to the Brockway genealogy published in 1890, Ammi Phillips and Laura (Brockway) Phillips had four children: George Phillips, Henry Phillips, William Phillips, and Russell Phillips. 11 The order of birth is implied but no dates are given. The census enumeration indicates one son born by 1815, two more sons between 1815 and 1820, and a fourth son between 1825 and 1830. The 1840 census record shows no males between the age of 10 and 15, suggesting that the youngest son may not have survived. The 1820 and 1830 census enumerations also indicate a daughter born between 1816 and 1820 about whom nothing is known.
Of the four sons by this first marriage, only William has any associated information in the Brockway genealogy, stating that he was a harness maker who settled in Elmira, N.Y. This is corroborated by the 1880 census record for Elmira, N.Y. which shows a William Phillips as a carriage trimmer. Interestingly, he is married to a first cousin once removed, Mary Helen Brockway, daughter of Smith Payne Brockway (his mother’s cousin) and Minerva Northrup. The household includes his widowed mother-in-law Minerva Brockway (75). Of the other three siblings no subsequent records have been found.
Laura (Brockway) Phillips died on February 2, 1830 at age 38 and was buried in the Dutch Reformed Church Cemetery in Rhinebeck, Dutchess Co., N.Y., leaving Ammi Phillips with five children of teen age or younger.
6 Grigg.
7 Wickham.
8 Ledgers of Payments, 1818-1872, to U.S. Pensioners Under Acts of 1818 Through 1858 From Records of the Office of the Third Auditor of the Treasury; Record Group Title: Records of the Accounting Officers of the Department of the Treasury; Record Group Number: 217; Series Number: T718; Roll Number: 20; Page 325.
9 Berkshire Reporter as reproduced in Hollander (1994) p. 12, see Volume 1, bibliography.
10 Lila S. Parish, “Dr. Samuel Barstow’s Great Barrington Diary, Part III,” Great Barrington Historical Society Newsletter, No. 3 (Summer 1983): p. 3.
11 D. Williams Patterson (comp.), The Brockway Family: some records of Wolston Brockway and his descendants, compiled for Francis E. Brockway (Owego, N.Y.: Leon L. Brockway’s Power Print, 1890) p. 96.
Second marriage and family
On July 15, 1830, five months after the death of his wife Laura Brockway, Ammi Phillips of Rhinebeck, N.Y. was married to Jane Ann Caulkins of North East, Dutchess Co., N.Y. Jane, 20 years his junior, was the daughter of Daniel Douglas Caulkins (1782-1864) and Ann (Baker) Caulkins (1784-1846). The marriage was officiated by and recorded in the diary of Rev. Luman Burtch, who states that the bride and groom were both personally known to him. 12 It is possible that Jane Ann Caulkins was related to Laura Brockway via marriage in the Baker family. The 1830 census of Rhinebeck, Dutchess Co., N.Y. enumerates Ammi Phillips, his recently-married second wife, and his five children by his first wife.
Ammi Phillips and Jane Ann Caulkins had three daughters and one son, all born between 1832 and 1840: Anna Caulkins Phillips (born 1832), Jane Elizabeth “Jennie” Phillips (born 1836), Samuel Baker Phillips (born 1838), and Sarah Phillips (born 1840).
Sarah Phillips died in April 1845 at age 4-1/2 and was buried in the Caulkins plot in Amenia Island Cemetery, Amenia, Dutchess Co., N.Y. (SARAH PHILLIPS / DAUGHTER OF / AMMI AND JANE A. PHILLIPS / Æ 4 Yrs 6 Mos.).
Anna C Phillips was listed with her parents in the 1850 census of North East, Dutchess Co., N.Y. (age 18). No subsequent record is known, and she was probably married by 1855
Samuel Baker Phillips was listed with his parents in the 1855 census of New Marlborough, Berkshire Co., Mass. (age 19) with occupation given as merchant. No subsequent record is known.
Jane Elizabeth “Jennie” Phillips, the last to remain at home, was listed with her parents in the 1860 census of Curtisville P.O., Town of Stockbridge, Berkshire Co., Mass. (age 23) with occupation given as teacher. She subsequently married widower Lucius J Woodford (1819-1888) and moved to Hartford, Connecticut (by 1870) and Springfield, Mass. (by 1880) where he died at age 65. Lucius J. Woodford, a well-to-do farmer from Winsted, Connecticut, had been sentenced to life in prison for the 1861 murder of a brother-in-law, James H. Tuttle, but was ordered released in July 1868 by petition to the Connecticut legislature on the grounds of self-defense. 13 They had one child, Luella Jane “Lulu” Woodford (1874-1927) who in 1897 married Marvin Estes Tucker (1873-1955). They had no children. 14 Jennie, as a widow, lived with her daughter and son-in-law in Boston, Mass. for two decades, dying there in 1920.
Residences
Ammi Phillips had a different residence in every decennial census record (and every five years starting in 1855), as follows. Note that census records prior to 1850 list only the name of the head of household and counts of household members by gender and age ranges. Each household member is named starting in 1850.
1820 – Troy, Rensselaer Co., N.Y., Ammi Phillips (26-44) with (1st) wife and four children. A property purchase in Troy, N.Y. (in which he is listed as a resident) on May 1, 1817 and unclaimed letters at the Troy post office as of April 1, 1818 and October 1, 1820 also attest to his residence and travels. 15, 16, 17
12 Sue Whitman, “On Finding a Folk Art Treasure.” Year Book: Dutchess County Historical Society, Vol. 59 (1974): p. 80.
13 The New England Farmer [Boston, Mass.], Vol. XXIII, No. 28 (July 11, 1868): p. 3.
14 Marvin Estes Tucker, Jr. (1930-1990) was the son of Marvin Estes Tucker and his second wife, Margaret A. Hyde (1894-1973), and was not a direct descendant of Ammi Phillips.
15 Property records as detailed in Holdridge (1968) p. 41, see Volume 1, bibliography.
16 The Northern Budget [Lansingburgh, N.Y.], April 21, 1818 and October 10, 1820.
17 The portrait of Mr. Jonathan Lane of Livingston, Columbia Co., N.Y., dated March 30th 1821, is signed “by Mr. Ammi Phillips of Troy ” See p. 29 in this volume
1830 – Rhinebeck, Dutchess Co., N.Y., Ammi Phillips (40-49) with (2nd) wife and five children. He was listed as a resident of Rhinebeck in the May 20, 1828 sale of his Troy property. A 45-acre land purchase in Rhinebeck was also recorded on May 1, 1829 (30 acres were sold back to the original owner on May 16, 1831, the remaining 15 acres were sold to Phillips’s brother-in-law, William W. Caulkins, on July 28, 1834). 18 He is mentioned as a portrait painter residing in Poughkeepsie, Dutchess Co., N.Y. in 1836. 19
1840 – Amenia, Dutchess Co., N.Y., Ammi Phillips (50-59) with (2nd) wife and three children. Phillips was recorded as a resident of Amenia as early as August 16, 1838 when he purchased one acre of land in Amenia (that land was sold by Phillips on March 5, 1842). 20
1850 (September 14th) – North East, Dutchess Co., N.Y., Ammi Phillips (age 64, Portrait Painter), with wife
Jane A. Phillips (42), daughters Anna C. Phillips (18) and Jane E. Phillips (14), and son Sam’l B. Phillips (12).
1855 (September 10th) – New Marlborough, Berkshire Co., Mass., Ammi Phillips (age 68, Artist), with wife
Jane A. Phillips (47), daughter Jane E. Phillips (20), and son Samuel B. Phillips (19, merchant).
1860 (June 18th) – Curtisville P.O., Town of Stockbridge, Berkshire Co., Mass., Ammie Philips [sic] (age 73 or 75, Portrait Painter) with wife Jane Ann Phillips (55) and daughter Jennie Phillips (23, teacher).
1865 (May 1st) – Stockbridge, Berkshire Co., Mass., Ammi Phillips (age 77, Portrait Painter) with wife Jane A. Phillips (57).
Death
Ammi Phillips died in July 1865 at his home in Curtisville (Stockbridge), Mass. Among the original sources there is disagreement as to the exact date. The official register of deaths in the Town of Stockbridge recorded his death as July 15 and gave the cause as consumption (tuberculosis). 21 A death notice in the Berkshire County Eagle, Pittsfield, Mass. of 10 August 1865 reported “In Curtisville, July 14, Ammi Phillips, Aged 78. Albany and Troy papers please copy.” 22 He was buried in the Caulkins plot in Amenia Island Cemetery, Amenia, Dutchess Co., N.Y. (AMMI PHLLIPS / DIED / July 11, 1865. / Æ. 78 Yrs 3 Mo.).
Ammi Phillips’s will had been dated two years earlier, on July 29, 1863, and witnessed by Enoch G. Caulkins and Louisa B. Caulkins (Phillips’s brother-in-law and sister-in-law). It gave all of his real estate and personal estate to “my dear and beloved wife Jane Ann Phillips, with all that remains (if any) upon her decease to be divided equally among my lawful heirs.” The will does not list any other individuals. 23
His widow, Jane A. Phillips, was listed in the 1870 census of Hartford, Connecticut (age 62) living with her daughter Jennie and son-in-law Lucius J. Woodford. She died on April 29, 1873 and was buried alongside her husband Ammi Phillips in Amenia, Dutchess Co., N.Y. (JANE A. PHILLIPS / DIED / Apr 29, 1873 / Æ. 65 Yrs 4 Mo.).
18 Holdridge (1968) pp. 42-43.
19 Poughkeepsie Journal [Poughkeepsie, N.Y.], Vol. 52, No. 2667 (August 31, 1836): p. 2, listed among delinquent accounts as “A. Phillips, portrait painter, Po’keepsie” owing $1.00 to the Journal for an unspecified job.
20 Holdridge (1968) pp. 43-44
21 Deaths registered in the Town of Stockbridge for the year eighteen hundred sixty-five: July 15, Amhurst [sic] Phillips, Male, Married, (age) 72 [sic], Consumption, Portrait Painter, (birthplace) Colebrook, Ct., (father) Samuel.
22 The Berkshire County Eagle [Pittsfield, Mass.], Vol. XXXVIL, No. 4 (August 10, 1865): p. 3.
23 Berkshire County, Massachusetts, Probate Records, Vol. No. 12, pp. 89-90.
Appendix B: The Rediscovery and Identification of Ammi Phillips
The name Ammi Phillips was virtually unknown to collectors, dealers, museum curators, and art researchers until revealed by Barbara Cohen (later Holdridge) and Lawrence B. Holdridge in August 1959. A scholarly perception of groupings of stylistically-related New York and Connecticut folk portraits had been building for 35 years, but without making the key connection to the identity of the unknown artist or artists. The chronology of this rediscovery and identification is illustrative of the gradual awareness, disconnected efforts, and wrong turns which may characterize such research.
1924-25: Helen C. Nelson “The Kent Limner”
In the summer of 1924 a street fair and art exhibit was held in the small town of Kent, Connecticut, which in the preceding decade had garnered both a summer and year-round colony of professional artists from New York City. As part of the exhibit, early 19th Century portraits from Kent were borrowed from descendants still residing in the area. Among these was a group of strikingly similar oil portraits of forward-leaning ladies in black dresses that attracted the attention of writer and art critic Helen C. Nelson, wife of G Laurence Nelson, a founding member of the Kent Artists Association. Based on the newspapers depicted in the companion portraits of two gentlemen, the group was datable to the summer of 1836 [p. 64]. This came at a time when interest in early American history, architecture, and antiques was surging. The 1920’s and 1930’s also witnessed a new appreciation of long-neglected American “primitive” or “provincial” paintings, especially among artists, dealers and curators of contemporary or modern American art. In 1925 Mrs. Nelson published an article about the Kent portraits in the art magazine International Studio. 24 This marked the first publication, as a group, of the work of an anonymous portraitist who consequently became known as the Kent Limner, and who would remain unidentified for the next 33 years.
Unfortunately, Mrs. Nelson chose as a central thesis for her article the assertion that itinerant portraitists were “head hunters” who painted headless stock bodies during the winter and sallied forth in the spring, armed with a cartload of nearly-finished canvases, in search of patrons’ heads. This was supported by the recollection by “certain present owners” of hearing their grandparents speak of a man who would drive up from New York with horse and wagon, hire a room in each hamlet, and proceed to paint the likenesses of those who would pay him a very modest fee. 25 While the recollection of [Phillips’s] itinerancy appears accurate, in hindsight we now know that the artist did not come up from New York City but simply across the narrow ridge of the Taconic Mountains which separates Kent, Connecticut from Dutchess County, New York. The “head hunter” method of executing portraits has long since been discredited as without documentation or material evidence. Faces were demonstrably painted first, and no headless portrait has ever surfaced. Nonetheless, and perhaps because of its air of Yankee ingenuity and amusing quaintness, this persistent myth continues to be repeated by small museums and historical societies
Seven of the Kent portraits were given a more formal public viewing at Holger Cahill’s pioneering exhibit “American Primitives” at the Newark Museum in 1930, with but one example (Julia Ann Fuller Barnum) illustrated in the exhibit catalog and in a corresponding article in The Magazine Antiques 26, 27 No further exhibition or publication of the Kent Limner’s works took place in the following decade, although a Kent-period portrait was listed as by “Phillips” in a 1934 magazine article, a clue apparently missed by early researchers. 28
24 Mrs. H. C. Nelson [Hermine “Helen” Carlotta Nelson], "Early American Primitives," International Studio, Vol. LXXX, No. 334 (March 1925): pp. 454-459. Mrs. Nelson states that some portraits were “coaxed from dusty attics.”
25 Nelson, pp. 456-457. Note: This is likely the recollection of Miss Mary Ann Hopson (1850-1937), owner of the Fuller and Barnum portrait pairs as of 1925, and probably based on hearing an account by her grandmother, Elizabeth Drake Fuller (1792-1876) who was painted by Ammi Phillips in 1836 [DRA]
26 Elinor Blake Robinson (comp.). American Primitives: An exhibit of the paintings of nineteenth century folk artists, November 4, 1930 to February 1, 1931. Newark, N.J.: The Newark Museum, 1930.
27 Elinor B. Robinson, “American Primitive Paintings.” The Magazine Antiques, Vol. XIX, No. 1, Jan. 1931, pp. 3336.
28 Frederic Fairchild Sherman, "Unrecorded Early American Painters," Art in America and Elsewhere, Vol. XXII, No. 4 (October 1934): p. 149, portrait of Anna Noxon [not illus.]. See p. 68 in this volume
1933: Perry T, Rathbone “The Kent-Kingston Group”
In a Harvard University master’s thesis submitted in 1933 Perry T. Rathbone, later director of Boston’s Museum of Fine Arts, made a connection between the Kent portraits and a group of stylistically similar portraits at the Senate House Museum in Kingston, N.Y. Although the author of these works remained unidentified, Rathbone was the first to span the Hudson River in describing this expanding body of work as the “Kent-Kingston group.” 29
1945: Jean H. Lipman “I. J. H. Bradley”
Ironically, the Holdridges were not the first to announce the “discovery” of the identity of the Kent Limner and the author of related works, only the first to correctly do so. In the July 1945 issue of Art in America editor Jean Lipman published an article “I. J. H. Bradley, Portrait Painter.” Lipman advanced the conclusion, based on four signed portraits, that I. J. H. Bradley (or I. Bradley, or J. Bradley of 128 Spring Street, New York) was responsible for the work of the Kent Limner and related works identified by Perry T. Rathbone as comprising the KentKingston group. In the accompanying checklist of 49 portraits by I. J. H. Bradley the majority have since been attributed to Ammi Phillips. In so doing, Lipman inadvertently published the first significant, albeit incorrectly attributed, checklist of portraits by Ammi Phillips. 30 Lipman also elaborated at great length on the itinerant “head hunter” scenario put forth 20 years earlier by Mrs. Helen C. Nelson, confidently describing it as “common procedure in that day.” This was employed to explain the prevalence of subjects in the Kent and Rhinebeck vicinity being painted by Bradley, who was a resident of New York City.
In a 1966 article in the National Gallery of Canada Bulletin, Mary C. Black and Stuart P. Feld provided a revised study of the works of the artist by then identified as John Bradley, who was active in New York, Staten Island, and New Jersey between 1832 and 1847. They began by stating that, after years of study, none of the 45 unsigned paintings in Jean Lipman’s 1945 checklist can be accepted as by Bradley. The Black and Feld article documents 18 additional portraits by Bradley uncovered since the 1945 article, all signed. Of the 45 unsigned portraits in the Lipman checklist, 31 were attributed to Ammi Phillips by 1966. 31 Others whose whereabouts are known are currently (as of this writing) attributed to artists as diverse as Erastus Salisbury Field, M.W. Hopkins, Deacon Robert Peckham, Sheldon Peck, and John Blunt.
1957: Nina Fletcher Little – “One Phillips”
In her 1957 catalog of the Abby Aldrich Rockefeller Collection at Colonial Williamsburg, the prominent New England antiques collector and historian Nina Fletcher Little connected a pair of anonymous portraits in the museum’s collection to the Kent-Kingston group, tentatively attributed to “one Phillips” and based, in turn, on the reproductions of portraits “by Phillips” discovered in the Ten Broeck genealogy of 1897. 32, 33 She also rejected the previous “I. J. H. Bradley” attribution as unsubstantiated. In so doing, she had nearly solved the puzzle, appending the name Phillips to the expanded group and, based on poses and facial characteristics, bridging the gap to two examples of his much later work. 34
29 Perry Townsend Rathbone, Itinerant Portraiture in New York and New England, 1820-1840. March 1933. Harvard U., M.A. thesis (unpublished).
30 Jean Lipman, "I. J. H. Bradley, Portrait Painter," Art in America, Vol. 33, No. 3 (July 1945): pp. 154-166.
31 Mary Childs Black and Stuart P. Feld, "Drawn by I. Bradley From Great Britton," [National Gallery of Canada] Bulletin 8, Vol. IV, No. 2 (1966).
32 Nina Fletcher Little, The Abby Aldrich Folk Art Collection: A descriptive catalogue (Boston: Little, Brown and Co., 1957) p. 353 [not illus.] For the referenced portrait pair see p. 90 upper left in this volume
33 Emma Ten Broeck Runk, The Ten Broeck Genealogy (New York: De Vinne Press, 1897), cited by Nina Fletcher Little in 1957 based on a photostatic copy seen at the Frick Art Reference Library, New York, N.Y.
34 The tentative attribution notwithstanding, the portraits were cataloged as “artist unknown, circa 1840.” They were later attributed to Ammi Phillips, New York-Massachusetts border, circa 1850. They were purchased by Mrs. Rockefeller at a 1944 benefit auction in Pittsfield, Mass , to which they had been donated by Edward Duff Balken.
1958 to 1960: Agnes Halsey Jones “The Border Limner”
In the 1950’s Agnes Halsey Jones, art researcher, graduate instructor, and wife of the director of the New York State Historical Association at Cooperstown, N.Y., identified a group of anonymous early-19th Century primitive portraits as the work of the same hand. Many of these were of identified sitters whose locations could be ascertained, and some were dated. Because the locations clustered around the New York-Massachusetts state line, she dubbed the artist the “Border Limner.” A number of these portraits had existed in private collections, were not widely known, and had never been published. That changed in 1958 with museum acquisitions of three major folk portrait collections. Edward Duff Balken (1874-1960) of Pittsfield, Massachusetts donated his entire collection to his alma mater, Princeton University. The Balken collection encompassed several examples, also still anonymous, from the 1810’s through the 1850’s, including the primitive Mr. and Mrs. Goodrich [p. 19] from the New York-Massachusetts border. Selections from the Balken collection had been exhibited at the Carnegie Institute in 1947, with Mr. Goodrich as the only early example. 35
Also in 1958, John D. Rockefeller, Jr. purchased the entire collection of the late J. Stuart Halladay (1892-1951) and Herrel George Thomas (1903-1957) of Sheffield, Massachusetts on behalf of the Abby Aldrich Rockefeller Folk Art Museum at Colonial Williamsburg. The Halladay-Thomas collection was rich with examples of Ammi Phillips’s work, though still anonymous, including six of the Dorr family portraits [p. 20]. Selections from the HalladayThomas collection had been exhibited at the Whitney Museum in 1942, but the only early examples included were the young Robert Lockridge Dorr [p. 20] and the dour Mrs. Jenkins of Albany [p. 17], with no suggestion that they could be by the same hand. 36 Other portraits in the expanding Border Limner group included Alsa and Joseph Slade [p. 23], donated in 1953 by Edgar and Bernice Chrysler Garbisch to the National Gallery of Art, and Mary and Cyrus Spicer [p. 23] owned by descendants. In the catalog for the 1958-59 travelling exhibit “Rediscovered Painters of Upstate New York” Agnes Halsey Jones first discussed the work of the Border Limner, including the Dorr family portraits at Colonial Williamsburg, and illustrated the Alsa and Joseph Slade portraits, loaned by the National Gallery of Art, and Harriet Leavens [p. 25], loaned by Harvard University. This was the first published reference to the Border Limner. 37
In yet another 1958 windfall, the New York State Historical Association at Cooperstown, New York acquired a significant portion of the huge and previously unknown folk painting collection of the late Marion (1881-1957) and William Gunn (1877-1952) of Newtonville, Massachusetts. 38 Two years were spent evaluating and conserving the new acquisitions prior to public unveiling. The 1960 exhibit catalog, entitled “New-Found Folk Art of the Young Republic” by Agnes Halsey Jones and NYSHA director Louis C. Jones falls short of attributing the portrait of the “Mother and Child in White” [p. 49] to Ammi Phillips, but cites the anonymous artist as belonging to “the same tradition as the Kent and Border Limners.” 39 Whether the Joneses were aware of the Holdridges’ work at the time their 1958 and 1960 exhibit catalogs were being compiled is unclear. In any event, this was the last time the term Border Limner was unassociated with Ammi Phillips.
35 American Provincial Paintings, 1790-1877, From the Collection of Edward Duff Balken, January 9 through February 23, 1947. Pittsburgh: Department of Fine Arts, Carnegie Institute, 1947.
36 American Provincial Paintings, 1680-1860, from the collection of J. Stuart Halladay and Herrel George Thomas. Benefit Exhibition for the American Field Service, October 27 to November 19, 1942. New York: Whitney Museum of American Art, 1942.
37 Agnes Halsey Jones, “The Border Limner: Active first quarter 19th century,” in Rediscovered Painters of Upstate New York, 1700-1875 (Utica, N.Y.: Winchester Printing for Munson-Williams-Proctor Institute, 1958) pp. 19-21.
38 The entire collection of 630 paintings was purchased from the Gunn estate by Miss Mary Allis. Of these, 154 were selected with her appraisal and guidance for purchase by Stephen C. Clark, Jr. on behalf of the NYSHA.
39 Agnes Halsey Jones and Louis C. Jones, New-Found Folk Art of the Young Republic (Cooperstown, N.Y.: New York State Historical Association, 1960) pp. 14-15.
1958 to 1965: Barbara (Cohen) Holdridge and Lawrence B. Holdridge “Ammi Phillips”
The previously unheralded name of “Ammi Phillips” was first connected with this body of work by Barbara Cohen (later Holdridge) and Lawrence B. Holdridge. A comprehensive full-page article in the Berkshire Eagle (Pittsfield, Mass.) in August 1959 was their first public announcement. 40 This was the product of an intensive year of research and documentation following their 1958 purchase of the signed and dated 1840 portrait of George C. Sunderland [p. 72]. In addition to determining a few biographical details about Ammi Phillips, their first major insight was that this was the same artist responsible for the small but recognized body of work by the so-called Kent Limner of 1836. With this insight, they amplified the tentative and less-specific attribution by Nina Fletcher Little. These previously anonymous works were represented in several museum collections, including those museums which were recent beneficiaries of the aforementioned Garbisch, Balken, Halladay-Thomas, and Gunn collections. As noted in their 1959 article, Ammi Phillips had not been entirely forgotten in his last residence near Stockbridge, Massachusetts. Indeed, a 1952 exhibit at the Stockbridge Library had featured “family portraits painted by Ammi Phillips a resident of Curtisville 100 years ago.” 41 This knowledge had not been promulgated among art scholars, however, and prior to the Holdridges no apparent connection had been made between this remembered Massachusetts artist of the 1850’s and the anonymous Kent Limner of the 1830’s.
The Holdridges’ second, and far less obvious, leap of intuition was that the much earlier and more primitive portraits of Joseph Slade and Alsa Sherman Slade, dated 1816, at the National Gallery of Art were by the same hand. By coincidence, the aforementioned travelling exhibit entitled “Rediscovered Painters of Upstate New York, 1700-1875” had opened at the New York State Historical Association in Cooperstown, N.Y. in June 1958 and the catalog contained the same Slade portraits under the heading “The Border Limner.” Recalling that they had previously been introduced to the term Border Limner by Mary C. Black, then curator of the Abby Aldrich Rockefeller Folk Art Museum, the Holdridges elicited her assistance in further research. The portrait pair of the Rev. and Mrs. John Gabriel Gebhard [p. 30], dated 1820 and signed “A. Phillips”, still with the Gebhard family, bore little resemblance to the work of the Kent Limner but provided a crucial intermediate link. A round of stylistic evaluations and forensic analyses of handwriting and stretcher construction followed. With the assistance of Mary C. Black the Holdridges were able to conclude that Ammi Phillips was not only the Kent Limner of the 1830’s but also the Border Limner of the 1810’s. 42 The conclusion that Ammi Phillips was also the Border Limner was put forth by Cohen and Holdridge from their first article of 1959, but apparently took some time to gain acceptance.
The initial regional newspaper article of 1959 may have attracted limited notice but was followed by the Holdridges’ well-illustrated articles on Ammi Phillips in Art in America (Summer 1960) and The Magazine Antiques (December 1961), the latter with a checklist of previously-anonymous works they had identified in museum collections. 43, 44 The Holdridges’ 1961 article included the aforementioned, and previously anonymous, “Mother and Child in White” in their checklist of Phillips’s work (though incorrectly dated to 1816) and citing the Jones’s 1960 exhibit catalog.
The first comprehensive exhibit of Phillips’s work, now encompassing the Border Limner period, Kent Limner period, and intermediate works, was staged by the Connecticut Historical Society in Hartford in 1965 on the centennial of Phillips’s death. The exhibit was supplemented by an illustrated catalog compiled by the Holdridges
40 Barbara Cohen and Larry Holdridge, "Found: A Berkshire Old Master," The Berkshire Eagle, Vol. 68, No. 100 (August 29, 1959): p. 10A.
41 “Historical Data of Interlaken A Library Feature in February,” The Berkshire Evening Eagle, Vol. 60, No. 187 (January 22, 1952): p. 14.
42 Mary Black, "The Search for Ammi Phillips," ARTnews, Vol. 75, No. 4 (April 1976): pp. 86-89.
43 Barbara and Larry Holdridge, "Ammi Phillips," Art in America, Vol. 48, No. 2 (Summer 1960): pp. 98-103.
44 Barbara and Larry Holdridge, "Ammi Phillips, limner extraordinary," Antiques, Vol. LXXXI, No. 6 (December 1961): pp. 558-563.
which occupied an entire issue of the CHS Bulletin. This was a huge leap in documentation and public awareness, and helped cement, perhaps misleadingly, Phillips’s reputation as a Connecticut artist. 45
Post-1965
A major exhibit of Ammi Phillips’s work at the Museum of American Folk Art just four years later, including late works and accompanied by a hardcover catalog featuring an expanded checklist and chronology by the Holdridges, reached an even greater audience 46 With the subsequent publication of such iconic works as “Girl in Red Dress with Cat and Dog” [p. 75], and a surge in interest in Americana, public awareness of Phillips’s work continued to grow. 47 By the time of the museum’s landmark 1994 retrospective, on the 25th anniversary of their 1969 exhibit, this once-anonymous portraitist had emerged from obscurity to become one of the most widely recognized creators of 19th Century American folk art. 48
45 Barbara and Lawrence B. Holdridge, "Ammi Phillips, 1788-1865," The Connecticut Historical Society Bulletin, Vol. 30, No. 4 (October 1965): pp. 97-146.
46 Barbara C. and Lawrence B. Holdridge, Ammi Phillips: Portrait Painter 1788-1865 (New York: C. N. Potter for the Museum of American Folk Art, 1969)
47 Girl in Red Dress with Cat and Dog had garnered only an addenda entry in the Holdridges’ 1968 checklist, and was neither exhibited nor illustrated, but was featured prominently in the Whitney Museum’s landmark 1974 exhibit and accompanying book The Flowering of American Folk Art, 1776-1876 by Jean Lipman and Alice Winchester. Numerous other publications followed (see Volume 1), including a 1998-issue U.S. postage stamp.
48 Stacy C. Hollander and Howard P. Fertig (curators), Revisiting Ammi Phillips: Fifty Years of American Portraiture (New York: Museum of American Folk Art, 1994)
1 Gideon Smith: Hollander (1994), see bibliography
2 Chloe Allis Judson: Historic Deerfield, 2005.1
3 Charles Rollin Barstow and Pluma Amelia Barstow: Heslip (1990), see bibliography
4 Unidentified Boy: Chrysler Art Museum, 76.53.16
5 Patience Bolles Stoddard and Ashbel Stoddard: Stair Galleries, 2012
6 Unidentified Man: Cottone Auctions, 2015.599
7 Unidentified Woman (aka Mrs. Jenkins of Albany): Sotheby’s, 7591.119
8 Mr. and Mrs. Hardy: Sotheby’s, 1992.47
9 Unidentified Woman and Man: Corcoran Gallery of Art, 1969.33.2 and 1969.33.1
10 Mr. and Mrs. Folsom: Christie’s, 5148.260
11 Dr. Nicholas Brown Harris: private collection
12 Joseph Heath and Mabel Rising Heath: Washington County Historian’s Office, Fort Edward, N.Y.
13 Moses Cowan: Architectural Digest (June 2003)
14 Harriet Betts Hall and Dr. Philander Hall: Northeast Auctions (11/1993), 677
15 Unidentified Man: private collection
16 Sara Cornwall Everest and Dr. Isaac Everest: private collection
17 Mrs. Goodrich & child: Berkshire Museum, 37.63
18 Mr. Goodrich: The Art Museum, Princeton University, y1958-65
19 Unidentified Woman: Christie’s, 2468.54
20 Unidentified Man: Skinner, Inc., 3278M.525
21 Polsapianna Bull Dorr, Esther Maria Dorr and Dr. Russell Dorr: Abby Aldrich Rockefeller Folk Art Museum, 58.100.15 and 58.100.16
22 Paulina Dorr: Abby Aldrich Rockefeller Folk Art Museum, 79.100.7
23 Henrietta Dorr: The Art Museum, Princeton University, y1958-66
24 Catherine Van Slyck Dorr: Hollander (2009), see bibliography [private collection]
25 Joseph Priestly Dorr: Abby Aldrich Rockefeller Folk Art Museum, 79.100.8
26 Robert Lottridge Dorr: Abby Aldrich Rockefeller Folk Art Museum, 58.100.8
27 Russell Griffin Dorr: Abby Aldrich Rockefeller Folk Art Museum, R58.100.25
28 John Haynes: Hirschl & Adler Galleries, Inc.
29 Phebe Haynes: Hirschl & Adler Galleries, Inc.
30 Rebecca Rouse Eddy and Jonathan Eddy: private collection
31 Wilbur Sherman and Sarah Stearns Sherman & daughter: Yale University Art Gallery, 2008.198.1 and 2008.198.2
32 Caleb Sherman: Yale University Art Gallery, 2008.198.3
33 Unidentified Woman: Olde Hope Antiques
34 Johan Georg Fake, Jr. and Catherine Sneider Fake: Antiques, 2004 [Hirschl & Adler Galleries, Inc.]
35 Alsa Sherman Slade and Joseph Slade: National Gallery of Art, 1955.5.53 and 1955.5.52
36 Sarah Bull Dorr or Amy Chase Bull: Tinker Swiss Cottage Museum, Rockford, Ill.
37 Mary Eddy Spicer and Cyrus Spicer: Christie’s, 9052.320
38 Milton Dorr: Antiques & Fine Art [Katcher Collection]
39 Sarah Bull Dorr and Col. Joseph Dorr: Historic New England, 1992.168 and 1992.167
40 Milton Dorr: Tinker Swiss Cottage Museum, Rockford, Ill.
41 Mrs. Crane and Dr. Crane: Newark Museum, 2001.69.2 and 2001.69.1
42 Unidentified Man and Woman: private collection
43 Philip Slade: Metropolitan Museum of Art, 64.309.3
44 Unidentified Woman (possibly Mrs. Phillip Slade): Sotheby’s, 7521.38
45 Napoleon Bonaparte Buell: Copake Auction, 2007.1.1.110
46 M.A. Barker: Washburn Gallery (Antiques, December 1978)
47 Harriet Campbell: Clark Art Institute, 1991.8
48 Harriet Leavens: Fogg Art Museum, Harvard University, 1945.27
49 Jerusha Rogers: Northeast Auctions (8/2014), 299
50 Mary Elizabeth Gale: Washburn Gallery, 1976 [Barnaba-Rolf Photography]
51 Frederick A. Gale: American Folk Art Museum [J. David Bohl]
52 Nancy Caldwell Church Robinson and Gen. David Robinson: Sotheby’s, 4911M.12
53 Rev. Jonas Coe: Museum of Fine Arts, Boston, 1997.195
54 Sally Morgan Walbridge: Christie’s, 1129.144
55 James Van Schoonhoven: Sotheby’s, 5736.283
56 Jane Daney Smith: Museum of Fine Arts, Boston, 1983.164
57 Ruth Haynes Palmer: Christie’s, 22325.365
58 Nancy Smith Lamphear: Sotheby’s, N10303.1075
59 Amy Lottridge Davis and Ann Jane Davis: private collection
60 Unidentified Woman: Sotheby’s, N09805.983
61 Rhoda Goodrich Bentley and Louisa H. Bentley: Sotheby’s, N09805.877
62 William Northrup Bentley: David A. Schorsch & Eileen M. Smiles, Woodbury, Conn.
63 Betsy Brownell Gilbert: The Huntington Library, L2015.41.163.
64 Harriet Hill: private collection [HPF]
65 Catherine Couenhoven Clark: The Clark Art Institute (2017)
66 Unidentified Woman and Man: Sotheby’s, 6957.1643
67 Unidentified Woman (aka Jane A. Fort Van Rensselaer): Abby Aldrich Rockefeller Art Museum, 58.100.36
68 Judge James Vanderpoel and Anna Doll Vanderpoel: Albany Institute of History and Art, 1958.30.1 and 1958.30.2
69 Unidentified Man: Christie’s, 1959.727
70 Unidentified Woman: Christie’s, 13791.633
71 Bithiah Soullard Haskell and John Haskell: Hirschl & Adler Galleries, Inc.
72 Gertrude Snyder Harder and William G. Harder: Abby Aldrich Rockefeller Folk Art Museum, 58.100.29 and 58.100.28
73 Jonathan Lane: Northeast Auctions, 2015.659
74 Catherine Douw Hoffman Philip and Col. Henry G. Philip: Connecticut Historical Society (1965), see bibliography
75 Dr. Thomas Brodhead: R.H. Blackburn & Assoc., Kinderhook, N.Y.
76 Samuel Robert Campbell and Sarah Mynderse Campbell: private collection
77 Unidentified Man: Shelburne Museum, 1955-512.3
78 Rev. John Gabriel Gebhard and Anna Maria Magdalene Carver Gebhard: Frick Art Reference Library (gift of John G. Gebhard III)
79 Dr. John A. McClellan: Northeast Auctions, 2015.833
80 Lydia Schureman Sluyter and Rev. Richard Sluyter: Northeast Auctions, 1989.654
81 Dr. Asa Jordan: D.L. Straight Auctions, 2022
82 Philip Titus Heartt: Olde Hope Antiques
83 Unidentified Boy: private collection
84 Jane Ann Campbell: private collection
85 Jonas Coe Heartt: Clars Auction Gallery, 2016.2211
86 Unidentified Girl: Amon Carter Museum, 1967.199
87 Mary Ann Steenback Gale: Antiques & Fine Art (2006)
88 Boy of the Cook Family: private collection
89 Unidentified Man: Sotheby’s, N08665.49
90 George Edward Selby: Joan R. Brownstein
91 Eliza DuBois: Antique Associates at West Townsend
92 Hannah Cooper du Bois: The American Museum in Britain
93 Garret du Bois: Pook & Pook, 2006.44
94 Mary Thorn Du Bois and Coert Du Bois: Sotheby’s, N08728.462
95 Charles Louis du Bois: Peter Tillou (Antiques, January 1976)
96 John A. Sleight: Frick Art Reference Library [Ira W. Martin]
97 Ruth Roe Sleight and Abraham Sleight: Currier Museum of Art, 1982.27.2 and 1982.27.1
98 Fyler Dibblee (possibly): Christie’s, 2095.546
99 Tobias Teller and Caroline Sammis Teller: Copake Auction, 2007.1.1.100
100 Col. Nathan S. Beckwith and Elizabeth “Betsey” Gale Beckwith: Brooklyn Museum of Art, 79.133.2 and 79.133.1
101 Unidentified Man: Skinner, Inc., 2669.90
102 Charlotte H. Newcomb Benedict and Dr. Abijah Gilbert Benedict, Springfield Museum of Art, 2000.020 and 2000.019
103 Lois Atherton Allerton: Art Institute of Chicago, 1946.395
104 Dr. Cornelius Allerton: Art Institute of Chicago, 1946.394
105 Polly Smith Husted: Sotheby’s, N07095.759
106 Bonhams: Unidentified Woman (Lois Atherton Allerton), 22282.4094
107 Lois Hamlin and David Hamlin: Bonhams & Butterfields
108 Unidentified Man and Woman: Northeast Auctions, 2009.429
109 Rhoda Bennett Couch: Skinner, Inc., 2509.833
110 Phoebe Lewis Smith and Judge Isaac Smith: Christie’s, 1247.90
111 Unidentified Man and Woman: Robert C. Eldred & Co., 2018.1035
112 William Schuneman and Elizabeth De Meyer Schuneman: Christie’s, 2200.49
113 John Kenyon (possibly): Northeast Auctions, 2007.661
114 Clarine Peck Van Bergen (possibly): Albany Institute of History and Art
115 Louisa Heyer Jackson: Frick Art Reference Library [Ira W. Martin]
116 Anna Shuler Cady: Frick Art Reference Library [Ira W. Martin]
117 Rev. Winslow Paige and Clarissa Keyes Paige: Frick Art Reference Library [Ira W. Martin]
118 William Cockburn: Frick Art Reference Library, 16721 [Pennington Studio, Kingston, N.Y.]
119 Maria Van Leuven Overbagh and Rev. Peter Abraham Overbagh: Antiques (March 1987)
120 Unidentified Woman: Christie’s, 8238.29
121 Blandina Margaret Oliver: Frick Art Reference Library, 16720 [Pennington Studio, Kingston, N.Y.]
122 Maria Oliver Hardenburgh and Jacobus Hardenburgh: Christie’s, 7000.429
123 Dr. Abraham Ten Eyck De Witt: Rufus King Museum
124 Rev. Thomas De Witt: Frick Art Reference Library [Ira W. Martin]
125 Leah Dubois Wynkoop De Witt: Historic Huguenot Street
126 Unidentified Man: University of Michigan Museum of Art, 2002/1.99
127 Ten Eyck De Witt: Frick Art Reference Library
128 John Ten Eyck: Frick Art Reference Library
129 Anna Eltinge Wynkoop and Derrick Wynkoop: Sotheby’s, N08053.922
130 Blandina Ten Eyck: Hollander (1994), see bibliography
131 Unidentified Man and Woman of the Van Keuren family: The Huntington, 2016.25.107 and 2016.25.106
132 Member of the Newkirk Family: Hudson River Antiques, Highland, N.Y.
133 Philip Bevier Hasbrouck and Esther Bevier Hasbrouck: Historic Huguenot Street/ Locust Lawn Estate [David Stansbury]
134 Ann DeWitt Bevier: Bevier (1916), see bibliography
135 Jane Bevier Deyo: Doyle New York (2015), 8 [Sotheby Parke Bernet, 4316.859]
136 Levi Decker Hasbrouck and Hylah Bevier Hasbrouck: Historic Huguenot Street / Locust Lawn Estate [David Stansbury]
137 Aaltje Swartwout Sleight: Holdridge (1968), see bibliography
138 Anna Seward Swartwout: Yost Conservation LLC, Oxford, Conn. (2018)
139 Unidentified Man: Christie’s, 2533.258
140 Sarah Maria DuBois (Easton) or Jane Hasbrouck (Hasbrouck): Historic Huguenot Street
141 Maria Eliza Hasbrouck (Reeve): Brownstein and Terkowitz (2007), see bibliography [Michael Gold]
142 Kate Elting (Crispell): Brownstein and Terkowitz (2007), see bibliography [Thomas Eaton]
143 Elizabeth Smith Hunter and David Hunter: Hirschl & Adler Galleries, Inc.
144 Catharina Van Keuren: Minneapolis Institute of Arts, 2009 exhibit catalog
145 Ann Eliza Sloan Dorrance and Dr. Benjamin Brewster Dorrance: Sotheby’s, 5429.473
146 Letitia Sloane (Chapman): Sotheby’s, N10303.1106
147 Daniel Bull: Sotheby’s, 7521.30
148 Hannah Bull Thompson: The Huntington Library, 83.8.38
149 Alexander Thompson II: Cheekwood Botanical Garden & Museum of Art, 86.16.12
150 Robert R. Thompson and Sarah McCurdy Thompson: Christie’s, 7294.66
151 Luther Halsey: Monmouth County Historical Association
152 Samuel Sloane: Sotheby’s, N10303.1106
153 Unidentified Man and Woman: Sotheby’s, 6866.574
154 Peleg Pelton: New York Historical Society, 1984.70
155 James Ketcham: Cordier Antiques & Fine Art (5/2008)
156 Alsop Vail: Christie’s, 8238.17
157 Pauline Darling Denton and Samuel Denton: Olde Hope Antiques
158 Unidentified Man: Christie’s, 2095.630
159 Unidentified Man: Sotheby’s, 5680.1562
160 Unidentified Man and Woman: Heritage Auctions, 8058.67065
161 Unidentified Woman: Metropolitan Museum of Art, L1992.16.3
162 Dr. Gabriel Norton Phillips and Elizabeth Payne Phillips: University of California Berkeley Art Museum
163 Cicero Hinds: Sotheby’s (5/2005), 120
164 Unidentified Man: Sotheby Parke Bernet, Inc., 3978.8
165 Unidentified Woman: David Wheatcroft [David Stansbury]
166 Unidentified Man: private collection
167 Esther Cummins Fisk: Frick Art Reference Library
168 Rev. Ezra Fisk: Cordier Auctions (5/2008)
169 Unidentified Man: Sotheby’s, 5551.1103
170 Unidentified Man: Sotheby’s, N07905.765
171 Unidentified Man: Allen Memorial Art Museum, Oberlin College, 2009.12
172 Unidentified Man: Sotheby’s, 5429.486
173 Dr. Seth Capron and Eunice Mann Capron: Catalog of American Portraits (private collection)
174 Mr. & Mrs. John Lawrence: Spencer Museum of Art, University of Kansas, 0000.0202 and 0000.0201
175 Ester Stakley or Betsy Sutherland: Kuehnert’s Auction Gallery (2007), 1014
176 Unidentified Woman: Davis Museum and Cultural Center, Wellesley College, 2007.70
177 Frances Seybolt Vail: Christie’s, 8238.17
178 Anne Stoddard Pelton: New York Historical Association [Annual Report, 1983-1984]
179 Unidentified Woman: Christie’s, 8238.28
180 Catharine Helen Miller Bull: Antiques (January 1971)
181 Unidentified Woman: Galerie St. Etienne
182 Ruth Wolsey Griffin: Frick Art Reference Library [Thurman Rotan]
183 Elizabeth Du Bois Bailey, Skinner, Inc., 3278M.756
184 Abigail Greelé Eliot: Frick Art Reference Library (gift of Eliot Rowlands)
185 Col. William Shultz Little and Betsey Ketcham Little: Newark Museum of Art, 84.564
186 Mrs. Andrew Thompson: Hudson River Valley Institute
187 Unidentified Woman and Man: Godel & Co., New York, N.Y.
188 Unidentified Woman: National Gallery of Art, 1959.11.9
189 Unidentified Woman: Sotheby’s, 5551.1038
190 Dr. Charles Winfield and Margaret Crawford Winfield: Sotheby’s, 6483.29
191 Unidentified Man: Doyle New York (2015), 10
192 Unidentified Man and Woman (aka Mr. and Mrs. Warburton): Philadelphia Museum of Art, 73-258-1 and 73-258-2
193 Dr. David Reeve Arnell: Stair Galleries, 2014.565
194 Dr. John T. Jansen and Clarissa LeFevre Dolson Jansen: Sotheby’s, 4999.190
195 Henry Cuddeback and Esther Gumaer Cuddeback: Estate of Mind Auctions (2021)
196 Unidentified Woman: Brunk Auctions (2023), 944
197 Samuel Callender Howell and Sally Jane Beakes Howell: Sotheby’s, 6075.101
198 Col. James Smith and Fanny Waterbury Smith: William Doyle Galleries (1982)
199 Stacy Beakes, Jr. and Mary Smith Beakes: Historical Society of Middletown and Wallkill Pct. [author photos]
200 Unidentified Child: National Gallery of Art, 1953.5.59
201 Mary Elizabeth Smith: Terra Foundation for American Art, 1992.56
202 Unidentified Woman and Child: New York State Historical Association, N-267-61
203 Leonard Allis: Sotheby’s, 7253.275
204 William Wheeler and Eleanor Knox Wheeler: private collection
205 Catherine A. May (Stimson): National Gallery of Art, 1978.80.16
206 Charles Augustus Marvine: Main Street Museum, White River Junction, Vt. [2017]
207 Malina Wheeler Knapp: Deposit Historical Society
208 Unidentified Man: Abby Aldrich Rockefeller Folk Art Museum, 58.100.42
209 Unidentified Man: private collection
210 Unidentified Woman: Frick Art Reference Library (gift of Harry Shaw Newman Gallery)
211 Ebenezer Punderson: Lawrence Steigrad Fine Arts, New York, N.Y.
212 Palmer Cook and Mary Halsley Cook: Concept Art Gallery, Pittsburgh, Pa.
213 Samuel Deuel: Neal Auction (11/2009), 14
214 Clarissa Benton Hunt and Joseph Drake Hunt: Wilderstein Preservation, Rhinebeck, N.Y.
215 Unidentified Man and Woman: Sotheby Parke Bernet, Inc., 3572.28
216 Margaret Platt Bockee: Butterscotch Auction Gallery (2018)
217 Mary Christopher Van Doorn Couch and Dr. John Whitfield Couch: Hirschl & Adler (1988), see bibliography
218 Unidentified Woman: Christie’s, 9686.524 / H.L. Chalfant
219 Philo Reed and Abigail Reynolds Reed: Stair Galleries (2009), 186
220 Mariah Durkee Soggs: Christie’s, 6400.83
221 Dr. Elmore Everitt, M.D.: Shelburne Museum, 27.1.1-26
222 George Greenwood Reynolds and Abigail Penoyer Reynolds: San Diego Museum of Art
223 Robert Hoag and Phebe Pugsley Hoag: Northeast Auctions (2005), 1331
224 Olivia Kimberly Adams: Clars Auction Gallery (2005), 6396
225 Abigail Adams Hoag: Clars Auction Gallery (2005), 6395
226 Tripp Hoag and Sally Ann Hoag: Sotheby, Parke Bernet, Inc., 4369.230
227 Isaac Hunting: Hirschl & Adler Galleries, Inc.
228 Mrs. Dr. Downe: American Museum of Folk Art, 1999.11.12 [Adam Reich]
229 Hannah Lewis Husted Hunting: Charles Lenhert
230 Unidentified Woman: Lewis Scranton, Killingworth, Conn.
231 John Garnsey and Mercy Mead Garnsey: Eldred’s, 2015.1352
232 Unidentified Man and Woman: Hunter Museum of American Art, 1993.17 and 1993.16
233 Mary Hamilton Ingraham: Skinner, Inc., 2640B.70
234 Morgan Hunting and Julia Barton Hunting: Benson Ford Research Center, Henry Ford Museum and Greenfield Village
235 Lucy Hamilton: Northeast Auctions (10/2007), 662
236 Louisa Park Benjamin: Frick Art Reference Library [Carl. L. Lanio, Kansas City, Mo., 1948]
237 Charles Wesley Powers: Frick Art Reference Library [Carl L. Lanio, Kansas City, Mo., 1948]
238 Jane Ann Benjamin Powers: Dayton Institute of Art
239 Unidentified Woman: Jeffrey Tillou Antiques
240 Mary Powers: Public Museum of Grand Rapids, 184408
241 Caroline Powers: Public Museum of Grand Rapids, 123111
242 Unidentified Woman: Giampietro Gallery
243 Sherman Bassett and Hannah Sornborger Bassett: Currier Museum of Art, 2003.1.1 and 2003.1.2
244 Dr. Peter Bennett Guernsey (and patient): New York State Historical Association [private collection]
245 Mary Ann Thorn Guernsey: Tillou (1973), see bibliography
246 Fanny Brush Rundle: San Diego Museum of Art, 1934.19
247 Unidentified Man: Sotheby’s, N08665.77
248 Unidentified Man: Mattatuck Historical Society, X68.166
249 Mrs. Cobb: Courtesy Howard Fertig
250 Thomas Isaac Storm: Metropolitan Museum of Art, 1980.360.1
251 Hendrick Hulst and Aletta Van Alst Hulst: Albany Institute of History and Art, 1971.24.1 and 1971.24.2
252 John Van Deusen, Senate House Historic Site, Kingston, N.Y. (Antiques, Sep 1982)
253 Dr. Horatio Dewey, Senate House Historic Site, Kingston, N.Y. (Antiques, Sep 1982)
254 James Elting: Carlsen Gallery (6/2011), 131
255 Katherine Salisbury Newkirk Hickok: Florence Griswold Museum, 2002.1.103
256 Dr. Levi King and Lovisa Peck King: Mr. & Mrs. William H. Smith, Fairbanks, Alaska
257 Horace Austin and Mary Ludlow Austin: Antiques, May 1979 (George E. Schoellkopf)
258 Elizabeth Mygans: Antiques & Fine Art (2010)
259 Gen. Samuel Ten Broeck: Columbia County Historical Society
260 Leonard William Ten Broeck and Helen Livingston Ten Broeck: Albany Institute of History and Art, 1977.16.1 and 1977.16.2
261 Elizabeth McKinstry Livingston: Frick Art Reference Library [Ira W. Martin]
262 Judge John Sanders III: Frick Art Reference Library [Ira W. Martin]
263 Jane Livingston Sanders: Pook & Pook, Inc. (2021), 304
264 Unidentified Woman and Man: Princeton University Art Gallery, y1958-79 and y1958-78
265 Unidentified Woman: Ron Hoffman and Tony Gampetro, New York, N.Y.
266 Welcome B. Arnold and Mary L. Rowe Arnold: Frick Art Reference Library [Ira W. Martin]
267 Unidentified Woman: Tillou Gallery (Antiques, January 1982)
268 John Van Leuven Overbagh: private collection
269 Dr. William Cantyne De Witt: Frick Art Reference Library [Geoffrey Clements]
270 Elizabeth Hardenbergh De Witt: Northeast Auctions (2014), 192
271 Henry Schenck Teller and Jane [Catherine] Storm Teller: National Gallery of Art, 1953.5.30 and 1953.5.31
272 Unidentified Woman: Frick Art Reference Library [Harry Stone Gallery]
273 Marius Schoonmaker: Sotheby’s, 5744.165
274 Sarah Ann Palen Northrop and Lewis Northrop: Albright-Knox Art Gallery, K1986.3 and K1986.2
275 Unidentified Man: Hemphill (1978), see bibliography
276 Mrs. Day and Mr. Day: National Gallery of Art, 1953.5.29 and 1953.5.28
277 Unidentified Man and Woman: Christie’s, 8238.32
278 Mrs. Mayer and Daughter: Metropolitan Museum of Art, 62.256.2
279 Helen [Lena] Ten Broeck: Joan R. Brownstein
280 William Henry De Witt and Catherine Ten Broeck De Witt: private collection
281 Jacob Wessel Ten Broeck, Sr. and Anna Benner Ten Broeck: author photos
282 Hannah Masten Radcliff: Frick Art Reference Library [Ira W. Martin]
283 Henry Lawrence and Christiana Rockefeller Lawrence: Smithsonian Institution, National Museum of American History
284 Jacob Hasbrouck De Witt: Frick Art Reference Library [Ira W. Martin]
285 Abraham Patterson: Sotheby’s, 6444.211
286 James de Long: Sotheby’s, 5810.1132
287 Unidentified Man: Sotheby’s: 6444.197
288 John Hughes: Sotheby’s, N08708.1062
289 Unidentified Woman and Man: Sotheby’s, 6731.25
290 Caroline Jane Opie: Sotheby’s, 5744.11
291 William Stevens: Sotheby’s, 5280.188
292 Margaret Stevens Bentley or Elizabeth Buckley: Village Green Antiques, Richland, Mich. (Antiques, January 1982)
293 Unidentified Man: Jeffrey Tillou Antiques
294 Unidentified Man and Woman: Sotheby Parke Bernet, Inc, 4209.246
295 Unidentified Man: private collection
296 James Ketcham: Philadelphia Museum of Art, 2014-152-1
297 Lois Belding Ketcham: Marguerite Riordan [Antiques, May 1980]
298 Unidentified Man: Christie’s, 1387.76
299 Unidentified Woman and Man of the Russell family: Sotheby’s, 7420.423
300 Rufus Fuller and Elizabeth Drake Fuller: Kent Historical Society
301 Almira Lucretia Mills Adams: Corbis Images, IE001821 [Geoffrey Clements]
302 John Milton Raymond and Florilla Mills Raymond: Frick Art Reference Library [Peter A. Juley & Son, 1925]
303 Hannah Mills Raymond (Newcomb): Frick Art Reference Library [Peter A. Juley & Son, 1925]
304 Matthew Starr Barnum: Rathbone (1933), see bibliography
305 Julia Ann Fuller Barnum: Robinson, Antiques (January 1931) [Newark Museum]
306 Phoebe E. Preston Haviland: Frick Art Reference Library [Peter A. Juley & Son, 1925]
307 Marquis de La Fayette Phillips and Jane Maria Pells Phillips: Sotheby’s / private collection
308 A.E. Allen: Christie’s, 3703.98
309 Abraham Burton and Celia B. Sayrs Burton: Antiques (January 1968) [John Gordon]
310 Jane Eliza Allen Wright: private collection
311 John Guy Vassar, Jr.: Cunneen-Hackett Arts Center [author photo]
312 Unidentified Man and Woman: Sotheby’s, 6392.686
313 Unidentified Man: Frick Art Reference Library reproduced from Lipman (1942), see bibliography
314 Peter Cornell: Maine Antique Digest (May 1988)
315 Thomas Cornell: Maine Antique Digest (May 1988)
316 Jeremiah Russell and Elizabeth Moose Russell: Christie’s, 1591.121
317 Unidentified Woman: Skinner, 3303T.1499
318 Isaac Cocks and Martha Van Duzer Cocks: private collection
319 Unidentified Woman: Sotheby’s, N07959.307
320 Jeanette Payne: Northeast Auctions / Godel & Co., New York, N.Y.
321 Ann Miller Tompkins: Joan R. Brownstein
322 Mary Hoyt: Christie’s, 1787.291
323 Unidentified Man and Woman: Sotheby’s, NY7705.134
324 Unidentified Man: Sotheby’s, 7590.473
325 Unidentified Man: Sotheby’s, N09609.5071
326 Unidentified Woman: Crystal Bridges Museum of Art [photo courtesy Washburn Gallery]
327 Unidentified Man: David Wheatcroft
328 Helen Cornell Manney: Dutchess County Historical Society
329 Sarah Rogers: Baltimore Museum of Art, 1973.92.1
330 Unidentified Woman: Sotheby’s, 7590.470
331 Elder Luman Burtch and Esther Patrick Burtch: Davis Museum and Cultural Center, Wellesley College, L146.78.1/2 and L146.78.2/2, or EL.2001.2.1 and EL.2001.2.2
332 Anna Farrington Noxon: Washburn Gallery (1976)
333 Hoag family member: private collection
334 Archibald Campbell: Francis Lehman Loeb Art Center, Vassar College
335 Elizabeth Mitchell Campbell: private collection
336 Unidentified Woman: Memorial Art Gallery, University of Rochester, 84.22
337 Unidentified Man and Woman: Doyle New York, 12AM02.7
338 Unidentified Woman: Shelburne Museum, 2002-32 [Bruce Schwarz]
339 Jonathan Akin Taber and Abigail Julia Ayers Taber: private collection
340 Unidentified Man: Sotheby’s, N08400.206
341 Unidentified Man: Sotheby’s, N07959.309
342 Unidentified Woman (aka Mrs. Zachariah Flagler): Princeton University Art Museum, y1958-60
343 Jeannette Elizabeth Woolley: Brooklyn Museum of Art, 69.7
344 Frances Sprague Foster and Judge Ebenezer Foster: Jeffrey Tillou Antiques
345 Augusta Maria Foster (Raymond): David A. Schorsch & Eileen M. Smiles
346 Sarah E. Haxtun (probably): Christie’s, 21026.472
347 Unidentified Girl, possibly a Raymond family member: Sotheby’s, N08280.7
348 Unidentified Man and Woman: American Folk Art Museum, 1991.30.2 and 1991.30.1
349 Unidentified Woman: Sotheby’s, 5680.1510
350 Preston Wing: Sotheby’s, 6392.881
351 Egbert Sheldon and Phebe Ann Wing Sheldon: Sotheby’s, 6392.880
352 Unidentified Man and Woman: Skinner, Inc., 2640B.15
353 Unidentified Woman: Sotheby’s, N07960.16
354 Mr. Doane: Doyle New York (2015), 7
355 Unidentified Man and Woman: Sotheby’s, N08512.177
356 Polly Clason Brady: Sotheby’s, N09805.1025
357 Gerard Crane and Roxanna Purdy Crane: Somers Historical Society
358 George C. Sunderland: private collection
359 Rev. Ashbel Green: The First Presbyterian Church in Philadelphia
360 Rev. Walter Smith Lyon: Emeline Howe Malpas, Little River, Ca.
361 Unidentified Man: Samuel Herrup Antiques
362 Mr. and Mrs. Vail from Afton, N.Y.: Pook & Pook (2014), 674
363 Unidentified Man: Pook & Pook (2012), 79
364 Mr. Goodwin: Antiques & The Arts Weekly (Feb 5, 1993)
365 Mr. Bates: Skinner, Inc., 2384.463
366 Unidentified Man: Doyle New York, 15AM02.5
367 Unidentified Man and Woman: Cottone Auctions (2006), 240
368 Unidentified Man and Woman: Philadelphia Museum of Art, 73-263-1 and 73-263-2
369 Unidentified Woman: Milwaukee Art Museum, M1966.113 [P. Richard Eells photo]
370 Jacob Wessel Ten Broeck, Jr. and William Henry Ten Broeck: Skinner, Inc., 2640B.7
371 John Younie Luyster: Chrysler Museum of Art, 74.6.4
372 Unidentified Boy, possibly Aaron D. Smith: Philadelphia Museum of Art, 2001-13-1
373 Rachael Ann Maria Overbagh Ostrander and Titus Ostrander: Jane Katcher Collection
374 Unidentified Boy: Princeton University Art Museum, y1958.75
375 Unidentified Girl: Princeton University Art Museum, y1958.74
376 Unidentified Child: Sotheby’s, N10306.1637
377 Unidentified Child: Sotheby’s, N08710.303
378 Unidentified Girl: American Folk Art Museum, 2001.37.1
379 Unidentified Girl: Christie’s, 16796.1205
380 Unidentified Girl: Christie’s, 1787.289
381 Unidentified Girl: Terra Foundation for American Art, 1992.57
382 Unidentified Girl: Sotheby’s, N08823.260
383 Mary Margaret Deuel: Sotheby’s, N08665.1
384 Henry Soggs and Mary Jane Soggs: Northeast Auctions (2006), 859
385 James Mairs Salisbury: Gavin Ashworth Photography, New York City
386 Andrew Jackson Ten Broeck: private collection
387 William Frederic Taber: private collection
388 William Edward Haxtun (probably): Olde Hope Antiques
389 William Woolley Haxtun: Connecticut Historical Society (1965), see bibliography
390 Almira Haxtun: Connecticut Historical Society (1965), see bibliography
391 Haxtun kitten (canvas fragment): Connecticut Historical Society (1965), see bibliography
392 Sarah Woolley Haxtun: private collection
393 Benjamin Haxtun: Connecticut Historical Society (1965), see bibliography
394 Joseph White Phillips: Fishkill Historical Society [author photo]
395 Elias Phillips and Elizabeth Northrup Phillips: Fishkill Historical Society [author photos]
396 Anna Van Voorhis: Doyle, New York
397 Elizabeth Phillips Storm and John Curry Storm: Fenimore Art Museum, N0001.1983 and N0023.1982 [Richard Walker]
398 Unidentified Man: Christie’s, 1787.290
399 Joseph Bogardus and Barbara Moffet Bogardus: Fishkill Historical Society
400 Isaac Simmons and Sarah Simmons: private collection
401 Harriet Simmons Hasbrook: Sotheby’s, 5736.270
402 Catherine Collins Flagler: private collection
403 Phebe Van Amburgh Hasbrook and Francis Jacob Hasbrook: Catalog of American Portraits [private collection]
404 Elnathan Haxtun: Christie’s, 22325.449
405 Tunis Cooper and Maria Budd Cooper: Cottone Auctions (2005), 152
406 Unidentified Man: Leslie Antiques Ltd., New York
407 Ira Williams and Melissa Calkins Williams: Sharon Historical Society
408 Hon. John Cotton Smith: Sharon Historical Society
409 Phebe Doud Gay: Sharon Historical Society
410 Calvin Gay: Sharon Historical Society [author photo]
411 Unidentified Woman: Christie’s, 2133.324
412 Sarah (Sally) Totten Sutherland: Christie’s, 9468.25
413 Unidentified Woman: Abby Aldrich Rockefeller Folk Art Museum, 64.100.5
414 Thomas Parker: Northeast Auction (2007), 110
415 Charles Brown and Elizabeth Marshall Brown: Pugsley (1976), see bibliography
416 Catherine De Cantillon Stoutenburgh: private collection
417 Tobias Isaac Stoutenburgh and Maria Albertson Stoutenburgh: private collection
418 Unidentified Woman of the Stoutenburgh family: Capsule Auctions (2020), 66
419 Unidentified Man and Woman: Northeast Auctions (2006), 1042
420 Deacon Benjamin Benedict: Hirschl & Adler Galleries, Inc. (1970)
421 Mr. and Mrs. Keese: Stair Galleries (2018), 79
422 Rachel Divine: Copake Auction (2013), 30a
423 Unidentified Man (“Dr. J. Ransom, DD”) and Woman: Sotheby’s, N07998.178
424 Julia Anna Stone Morehouse: Copake Auction (9/2011), 25
425 Col. Henry Rundall and Nancy Totten Sutherland Rundall: Kenneth Hammitt (Antiques, Jul 1971)
426 Rebecca Beebe Rockwell: Frick Art Reference Library [Ira W. Martin, 1942]
427 Judge Miles Tobey Granger and Caroline S. Ferguson Granger: Weston’s Auction Gallery (2004)
428 Theron Bronson and Maria Rachel Munsill Bronson: Alex Cooper Auctioneers (2018), 912
429 Margaret Phelps Higley: Falls Village-Canaan Historical Society
430 Unidentified Woman: EBTH, Inc., 18DCC700.116
431 Unidentified Man and Woman: Christie’s, 2815.164
432 Sarah J. Kinney: Litchfield Historical Society
433 Nisus Kinney: Litchfield Historical Society
434 Sarah Wakefield Kinney: Carlsen Gallery (2004), 172
435 (possibly) Sen. John Henry Hubbard and Julia Ann Dodge Hubbard: Post Road Gallery
436 Lucius Culver: Litchfield Historical Society
437 Unidentified Woman: Bruce Museum
438 Theron Daniel Ludington and Eleanor Bailey Ludington: Christie’s, 2287.125
439 Augustus Miles and Roxa Norton Miles: Pook & Pook, Inc. (1998), 221
440 Mr. and Mrs. Seymour of Connecticut: Skinner, Inc. (2009), 953
441 Milo Bartholomew and Milia Holbrook Bartholomew: Shannon’s, Milford, Conn. (2013), 177
442 William Miles: The Salisbury Association, Inc.
443 Possible Miles family member: Holley-Williams House Museum, Lakeville, Conn. [author photo]
444 Unidentified Woman: Sotheby’s, N08158.350
445 Dr. Ovid Plumb and Abiah Lawrence Plumb: Pook & Pook, Inc. (1998), 220
446 Unidentified Woman: Skinner, Inc., 2824T.1070
447 Mr. and Mrs. James Reed: CRN Auctions (2023), 175
448 Unidentified Woman: Newark Museum, 66.620
449 Dyer Hotchkiss: Torrington Historical Society
450 Electa Susannah Brace Hotchkiss: Torrington Historical Society
451 Edward C. Hotchkiss: Torrington Historical Society
452 Lucia E. Hotchkiss: Torrington Historical Society
453 Henry E. Hotchkiss: Torrington Historical Society
454 Susan W. Kinney: Gratz Gallery, New Hope, Pa.
455 Emily Miner Palmer Fox: Tillou Gallery
456 Maria Rachel Munsill Bronson and Wilbur Bronson: Jane Katcher Collection
457 Jane E. Kinney: author photo
458 Unidentified Man and Woman: Sotheby’s, 7590.469
459 Leonard Richardson and Lucy Anne Barnum Richardson: private collection
460 Milo Barnum Richardson: private collection
461 Edward Hiram Bronson and Henry Theron Bronson: Katcher (2011), see bibliography
462 Unidentified Children: Christie’s, 8984.24
463 Virginia Ludington and Theron Simpson Ludington: Christie’s, 2287.124
464 Unidentified Man and Woman: Abby Aldrich Rockefeller Folk Art Museum, 48.100.1 and 48.100.2
465 Nathan Gaylord Benjamin: Carlsen Gallery (2004), 171
466 Unidentified Man and Woman: Skinner (2012), 334
467 Unidentified Woman: Pook & Pook, Inc. (2014), 673
468 Henry W. Langdon: private collection
469 Unidentified Man and Woman: Sotheby’s, 5599.65
470 Unidentified Man: C. L. Prickett
471 Dr. Clarkson T. Collins and Lydia Coffin Collins: American Folk Art Museum, 2016.18.3 and 2016.18.4 [Adam Reich]
472 Dr. Joseph Priestly Dorr, private collection [courtesy George C. Colcough, Jr.]
473 Henry Sisson and Lucy Amanda Howe Sisson: Doyle New York, 15AM02.8
474 Unidentified Woman: Northeast Auctions (2005), 614
475 Unidentified Woman: Sotheby’s, 3981.452
476 Unidentified Woman: Sotheby Parke Bernet, 4268.188
477 Unidentified Man: Christie’s, 9686.929
478 Unidentified Man: Sotheby’s, 4211.588
479 Unidentified Man: Sotheby’s, 5141.334
480 Unidentified Man: private collection
481 Unidentified Man: Sotheby’s, 6613.94
482 Mr. Cooper: Christie’s, 6320.119
483 Unidentified Man: Leslie Hindman Auctioneers, 430.723
484 Unidentified Man: Marguerite Riordan (Antiques, Nov. 1974)
485 Unidentified Man: Peter Jung [Yost Conservation]
486 Ebenezer Chadwick: Charles L. Flint Antiques
487 Asa Beckwith: Doyle New York, 15AM02.7
488 Unidentified Man: Skinner, Inc., 2460.259
489 Unidentified Boy: private collection
490 Unidentified Man: Christie’s, 8238.31
491 Unidentified Man: Freeman’s, 1456.171
492 Unidentified Man: James D. Julia, Inc. (2014), 2211
493 Lorrin Smith and Eliza Smith: George E. Schoellkopf, New York, N.Y. (1975)
494 Elisha Barnes: Berkshire Museum, Pittsfield, Mass., 1972.18
495 Thomas Williams Barnes and Zilpha Arnold Barnes: Berkshire Co. Historical Society, author photo
496 Caroline H. Williams Barnes: Berkshire Museum
497 Perry Green Comstock and Elizabeth M. Comstock: Stockbridge Library Association
498 Mrs. Lyman: Doyle New York (2015), 15
499 Ethan Allen Van Deusen and Clymena Tobey Van Deusen: Frick Art Reference Library [Thurman Rotan]
500 Henry Sedgwick: Richard Opfer Auctioneering (2004), 186
501 Unidentified Man: Christie’s, 8238.30
502 Sarah King Dewey and Harriet Maria Dewey: private collection
503 Chauncey Erastus Dewey and Caroline Bailey Dewey: Charles L. Flint
504 Unidentified Woman: Quinn’s Auction Galleries (2014), 249
505 Thomas Carter: The Stockbridge Library Association (1991)
506 Anna Benedict Smith: Wintergarden Auction Service (2013)
507 Enos Smith: Christie’s, 6842.155
508 Edward Church Carter: Doyle New York (2015), 9 [Sotheby’s, 7329.130]
509 Anna Electa Carter, Mary Adele Carter and John Calvin Calhoun Carter: Heritage Auction Galleries, 5057.64068
510 Unidentified Girl (aka Mary O’Connel): Princeton University Art Museum, y1985-71
511 Emily Cooper: private collection
512 Edward Harmon Langdon: Jeffrey Tillou Antiques
513 Unidentified Boy: Freeman’s, 1530.472
514 Florence Maria Carter: Christie’s, 2815.250
515 Unidentified Boy: Hollander (2009), see bibliography [private collection]
516 Unidentified Woman and Boy: private collection
517 Unidentified Boy: William J. Jenack (2017)
518 Unidentified Woman: Larry Burke, Inc.
519 Unidentified Boy: Christie’s, 4999.185
520 Unidentified Boy: Skinner, Inc., 2608.917
521 Unidentified Child: Jones and Mears, Hudson Valley Regional Review (1987), see bibliography
522 Duane Bailey Dewey: private collection
523 Elizabeth Harris Husted: Holdridge, Antiques (1961), see bibliography
524 George W. Beckwith: Jones and Mears, Hudson Valley Regional Review (1987), see bibliography
525 Boy of the Overbagh family (attributed to John Vanderlyn II): Frick Art Reference Library, 40069 (courtesy Senate House Association, Kingston, N.Y.)
526 Eleanor Ward Humphrey (by Ezra Ames): Princeton University Art Museum, 2000-320
527 Ann Dunkin and Dunkin Henry Van Rensselaer (by Bass Otis): Albany Institute of History and Art, 1995.31
528 William Cockburn (attributed to John Vanderlyn): Frick Art Reference Library, 15355 [Ira W. Martin]
529 Rev. Ammi Ruhamah Robbins (by Reuben Moulthrop), Yale University Art Gallery, 1943.104
Index to Named Examples (Volume 2)
Adams, Almira Lucretia Mills (later Perry), 64
Adams, Olivia Kimberly, 53
Allen, A.E., 65
Allerton, Cornelius (Dr.), 34
Allerton, Lois Atherton, 34
Allis, Leonard Newton, 50
Arnell, David Reeve (Dr.), 47
Arnold, Mary L. Rowe, 59
Arnold, Melinda Ann (possibly), 59
Arnold, Welcome B., 59
Austin, Horace, 57
Austin, Mary Ludlow, 57
Bailey, Elizabeth Du Bois, 45
Barker, M.A., 25
Barnes, Caroline H. Williams, 94
Barnes, Elisha, 94
Barnes, Thomas Williams, 94
Barnes, Zilpha Arnold, 94
Barnum, Julia Ann Fuller, 64
Barnum, Matthew Starr, 64
Barstow, Charles Rollin, 16
Barstow, Pluma Amelia, 16
Bartholomew, Betsy Barnum (possibly), 90
Bartholomew, Hiram (possibly), 90 Bartholomew, Milia Holbrook, 85
Bartholomew, Milo, 85
Bassett, Hannah Sornborger, 55
Bassett, Sherman, 55
Bates, Mr., 73
Beakes, Mary Smith, 48
Beakes, Stacy Jr., 48
Beckwith, Asa, 93
Beckwith, Elizabeth ‘Betsey’ Gale, 33 Beckwith, George W., 98
Beckwith, Nathan S. (Col.), 33 Benedict, Abijah Gilbert (Dr.), 33 Benedict, Benjamin (Deacon), 82 Benedict, Charlotte H. Newcomb, 33 Benjamin, Louisa Park, 55 Benjamin, Nathan Gaylord, 90 Bentley, Margaret Stevens, 62
Bentley, Rhoda Goodrich and Louisa H. Bentley, 27
Bentley, William Northrup, 27 Bevier, Ann DeWitt, 39
Bockee, Margaret Platt, 51
Bogardus, Barbara Moffet, 78
Bogardus, Joseph, 78
Bradley, Mr. (aka Mr. Day), 60
Bradley, Mrs. (aka Mrs. Day), 60 Brady, Polly Clason, 72
Brodhead, Thomas (Dr.), 29
Bronson, Edward Hiram and Henry Theron Bronson, 89
Bronson, Maria Rachel Munsill, 83
Bronson, Maria Rachel Munsill and Wilbur Bronson, 88
Bronson, Theron, 83
Brown, Charles, 81
Brown, Elizabeth Marshall, 81
Buckley, Elizabeth, 62
Buell, Napoleon Bonaparte, 24
Bull, Amy Chase, 23
Bull, Catharine Helen Miller, 45
Bull, Daniel, 41
Burtch, Esther Patrick, 68
Burtch, Luman (Elder), 68
Burton, Abraham, 65
Burton, Celia B. Sayrs, 65
Cady, Anna Shuler, 36
Campbell, Archibald, 68
Campbell, Elizabeth Mitchell, 68
Campbell, Harriet, 25
Campbell, Jane Ann, 31
Campbell, Samuel Robert, 30
Campbell, Sarah Mynderse, 30
Capron, Eunice Mann, 44
Capron, Seth (Dr.), 44
Carter, Anna Electa, Mary Adele Carter and John Calvin Calhoun Carter, 96
Carter, Edward Church, 96
Carter, Florence Maria, 96
Carter, Thomas, 95
Chadwick, Ebenezer, 93
Clark, Catherine Couenhoven, 28
Cobb, Mrs., 56
Cockburn, William, 36
Cocks, Isaac (aka Captain Isaac Cox), 66
Cocks, Martha Van Duzer (aka Mrs. Isaac Cox), 66
Coe, Jonas (Rev.), 26
Collins, Clarkson T. (Dr.), 91
Collins, Lydia Coffin, 91
Comstock, Elizabeth M., 94
Comstock, Perry Green, 94
Cook family, Boy of the, 31
Cook, Mary Halsley, 51
Cook, Palmer, 51
Cooper, Emily, 96
Cooper, Maria Budd, 79
Cooper, Mr., 92
Cooper, Tunis, 79
Cornell, Peter, 66
Cornell, Thomas, 66
Couch, John Whitfield (Dr.), 52
Couch, Mary Christopher Van Doorn, 52
Couch, Rhoda Bennett, 34
Cowan, Moses, 18
Crane, Dr., 24
Crane, Gerard, 72
Crane, Mrs., 24
Crane, Roxanna Purdy, 72
Cuddeback, Esther Gumaer, 47
Cuddeback, Henry, 47
Culver, Lucius, 84
Dakin, Dewitt Clinton, Sr. (Mr.), 86
Dakin, Dewitt Clinton, Sr. (Mrs.), 86
Davis, Amy Lottridge, 27
Davis, Ann Jane, 27
Day, Mr. (aka Mr. Bradley), 60
Day, Mrs. (aka Mrs. Bradley), 60
de Long, James, 62
De Witt, Abraham Ten Eyck (Dr.), 37
De Witt, Catherine Ten Broeck, 61
De Witt, Elizabeth Hardenbergh, 59
De Witt, Jacob Hasbrouck, 61
De Witt, Leah Dubois Wynkoop, 37
De Witt, Ten Eyck, 38
De Witt, Thomas (Rev.), 37
De Witt, William Cantyne (Dr.), 59
De Witt, William Henry, 61
Denton, Pauline Darling, 42
Denton, Samuel, 42
Deuel, Mary Margaret, 76
Deuel, Samuel, 51
Dewey, Caroline Bailey, 95
Dewey, Charles Asaph (possibly), 95
Dewey, Chauncey Erastus, 95
Dewey, Duane Bailey, 97
Dewey, Horatio (Dr.), 57
Dewey, Sarah King and Harriet Maria Dewey, 95
Deyo, Jane Bevier, 39
Dibblee, Fyler (possibly), 33
Divine, Rachel, 82
Doane, Mr., 71
Dorr, Catherine Van Slyck, 20
Dorr, Henrietta, 20
Dorr, Joseph (Col.), 23
Dorr, Joseph Priestly, 20
Dorr, Joseph Priestly (Dr.), 91
Dorr, Josephus, 23
Dorr, Milton, 23
Dorr, Paulina, 20
Dorr, Polsapianna Bull & Esther Maria Dorr, 20
Dorr, Robert Lottridge, 20
Dorr, Russell (Dr.), 20
Dorr, Russell Griffin, 20
Dorr, Sarah Bull, 23
Dorrance, Ann Eliza Sloan, 40
Dorrance, Benjamin Brewster (Dr.), 40
Downe, Mrs. Dr., 53
du Bois, Charles Louis, 32
Du Bois, Coert, 32
du Bois, Garret (possibly), 32 du Bois, Hannah Cooper, 32
Du Bois, Mary Thorn, 32
DuBois (Easton), Sarah Maria, 40
DuBois (Hasbrouck), Pamela, 40
DuBois, Eliza, 32
Eddy, Jonathan, 21
Eddy, Rebecca Rouse, 21 Eliot, Abigail Greelé, 45
Elting, James, 57
Elting, Kate, 40
Everest, Isaac (Dr.), 19
Everest, Sarah Cornwall, 19
Everitt, Elmore (Dr.), 52
Fake, Catherine Sneider, 22
Fake, Johan Georg, Jr., 22
Fisk, Esther Cummins, 43 Fisk, Ezra (Rev.), 43
Flagler, Catherine Collins, 79 Flagler, Zachariah (Mrs.), 69
Folsom, Mr., 18
Folsom, Mrs., 18
Foster, Augusta Maria (later Raymond), 70
Foster, Ebenezer (Judge), 70
Foster, Frances Sprague, 70
Fox, Emily Miner Palmer, 88
Fuller, Elizabeth Drake, 64
Fuller, Rufus, 64
Gale, Frederick A., 25
Gale, Mary Ann Steenback, 31
Gale, Mary Elizabeth, 25
Garnsey, John, 54
Garnsey, Mercy Mead, 54
Gay, Calvin, 80
Gay, Phebe Doud, 80
Gebhard, Anna Maria Magdalene Carver, 30
Gebhard, John Gabriel (Rev.), 30
Gilbert, Betsy Brownell, 28
Goodrich, Mr., 19
Goodrich, Mrs. & child, 19
Goodwin, Mr., 73
Granger, Caroline S. Ferguson, 83
Granger, Miles Tobey (Judge), 83
Green, Ashbel (Rev.), 72
Griffin, Ruth Wolsey, 45
Guernsey, Mary Ann Thorne, 56
Guernsey, Peter Bennett (Dr.), 56
Hall, Harriet Betts, 18
Hall, Philander (Dr.), 18
Halsey, Luther, 41
Hamilton, Lucy, 54
Hamlin, David, 34
Hamlin, Lois Davis, 34
Hardenburgh, Jacobus (possibly), 37
Hardenburgh, Maria Oliver (possibly), 37
Harder, Gertrude Snyder, 29
Harder, William G., 29
Hardy, Mr., 17
Hardy, Mrs., 17
Harris, Nicholas Brown (Dr.), 18
Hasbrook, Francis Jacob, 79
Hasbrook, Harriet Simmons, 79
Hasbrook, Phebe Van Amburgh, 79
Hasbrouck (Reeve), Maria Eliza, 40
Hasbrouck, Esther Bevier, 39
Hasbrouck, Hylah Bevier, 39
Hasbrouck, Jane, 40
Hasbrouck, Levi Decker, 39
Hasbrouck, Philip Bevier, 39
Haskell, Bithiah Soullard, 29
Haskell, John, 29
Haviland, Phoebe E. Preston, 64
Haxtun kitten, 77
Haxtun, Almira, 77
Haxtun, Benjamin, 77
Haxtun, Elnathan, 79
Haxtun, Sarah E., 70
Haxtun, Sarah Woolley, 77
Haxtun, William Edward, 76
Haxtun, William Woolley, 77
Haynes, John, 21
Haynes, Phebe Peck, 21
Heartt, Jonas Coe, 31
Heartt, Philip Titus, 31
Heath, Joseph, 18
Heath, Mabel Rising, 18
Hickok, Katherine Salisbury Newkirk, 57
Higley, Margaret Phelps, 83
Hill, Harriet, 28
Hinds, Cicero, 43
Hoag, Abigail Adams, 53
Hoag, Phebe Pugsley, 53
Hoag, Robert, 53
Hoag, Ruth Wright, 68
Hoag, Sally Ann, 53
Hoag, Tripp, 53
Hotchkiss, Charles, 87
Hotchkiss, Dyer, 87
Hotchkiss, Edward C., 87
Hotchkiss, Electa Susannah Brace, 87
Hotchkiss, Henry E., 87
Hotchkiss, Lucia E., 87
Howell, Sally Jane Beakes, 48
Howell, Samuel Callender, 48
Hoyt, Mary, 67
Hubbard, John Henry (Sen.), possibly, 84
Hubbard, Julia Ann Dodge (possibly), 84
Hughes, John, 62
Hulst, Aletta Van Alst, 56
Hulst, Hendrick, 56 Hunt, Clarissa Benton, 51
Hunt, Joseph Drake, 51 Hunter, David, 40
Hunter, Elizabeth Smith, 40
Hunting, Hannah Lewis Husted, 53 Hunting, Isaac, 53
Hunting, Julia Barton, 54
Hunting, Morgan, 54
Husted, Elizabeth Harris, 98 Husted, Polly Smith, 34
Ingraham, Mary Hamilton, 54
Jackson, Louisa Heyer, 36
Jansen, Clarissa LeFevre Dolson, 47
Jansen, John T. (Dr.), 47
Jenkins, Mrs., 17
Jordan, Asa (Dr.), 30
Judson, Chloe Allis, 16
Keese, Mr., 82
Keese, Mrs., 82
Kenyon, John (possibly), 36
Ketcham, James, 42, 63
Ketcham, Lois Belding, 63
King, Levi (Dr.), 57
King, Lovisa Peck, 57
Kinney, Jane E., 88
Kinney, Nisus, 84
Kinney, Sarah J., 84
Kinney, Sarah Wakefield, 84
Kinney, Susan W., 88
Knapp, Malina Wheeler, 50
Lamphear, Nancy Smith, 27
Lane, Jonathan, 29
Langdon, Edward Harmon, 96
Langdon, Henry W., 90
Lawrence, Christiana Rockefeller, 61
Lawrence, Henry, 61
Lawrence, John, 44
Lawrence, John (Mrs.), 44
Leavens, Harriet, 25
Little, William Shultz (Col.) and Betsey Ketcham Little, 46
Livingston, Elizabeth McKinstry, 58
Ludington, Eleanor Bailey, 84
Ludington, Theron Daniel, 84
Ludington, Virginia and Theron Simpson Ludington, 89
Luyster, John Younie, 74
Lyman, Mrs., 94
Lyon, Walter Smith (Rev.), 72
Manney, Helen Cornell, 68
Marvine, Charles Augustus, 50
May (Stimson), Catherine A., 50
Mayer, Mrs. & daughter, 60
McClellan, John A. (Dr.), 30
Miles family member, 86
Miles, Augustus, 85
Miles, Roxa Norton, 85
Miles, William, 86
Morehouse, Julia Anna Stone, 82
Mygans, Elizabeth, 57
Newkirk family member, 38
Northrop, Lewis, 60
Northrop, Sarah Ann Palen, 60
Noxon, Anna Farrington, 68
O’Connel, Mary (aka), 96
Oliver, Blandina Margaret, 37
Opie, Caroline Jane, 62
Ostrander, Rachel Ann Maria Overbagh and Titus
Ostrander, 74
Overbagh, John Van Leuven, 59
Overbagh, Maria Van Leuven, 37
Overbagh, Peter Abraham (Rev.), 37
Paige, Clarissa Keyes, 36
Paige, Winslow (Rev.), 36
Palmer, Ruth Haynes, 27
Parker, Thomas, 81
Patterson, Abraham, 62
Payne, Jeanette, 67
Pelton, Anne Stoddard, 45
Pelton, Peleg, 42
Philip, Catherine Douw Hoffman, 29
Philip, Henry G. (Col.), 29
Phillips, Elias, 78
Phillips, Elizabeth Northrup, 78
Phillips, Elizabeth Payne, 43
Phillips, Gabriel Norton (Dr.), 43
Phillips, Jane Maria Pells, 65
Phillips, Joseph White, 78
Phillips, Marquis de La Fayette, 65
Plumb, Abiah Lawrence, 86
Plumb, Ovid (Dr.), 86
Powers, Caroline, 55
Powers, Charles Wesley, 55
Powers, Jane Ann Benjamin, 55
Powers, Mary, 55
Punderson, Ebenezer, 51
Radcliff, Hannah Masten, 61
Ransom, J. (Dr.), 82
Ransom, J. (Mrs.), 82
Raymond family member (possibly Frances Anne Foster), 70
Raymond, Florilla Mills, 64
Raymond, Hannah Mills (or Myra Ann Mills Raymond), 64
Raymond, John Milton, 64
Reed, Abigail Reynolds, 52
Reed, James (Mr.), 86 Reed, James (Mrs.), 86 Reed, Philo, 52
Reynolds, Abigail Penoyer, 52
Reynolds, George Greenwood, 52 Richardson, Leonard, 88 Richardson, Lucy Anne Barnum, 88 Richardson, Milo Barnum, 88
Roberts, Emily Armeda, 96 Robinson, David (Gen.), 26 Robinson, Nancy Caldwell Church, 26 Rockwell, Rebecca Beebe, 83
Rogers, Eveline Cornell (possibly), 68
Rogers, Jerusha, 25 Rogers, Sarah, 68
Rundall, Henry (Col.), 82
Rundall, Nancy Totten Sutherland, 82
Rundle, Fanny Brush, 56
Russell family man & woman, 63 Russell, Elizabeth Moose, 66
Russell, Jeremiah, 66
Salisbury, James Mairs, 76
Sanders, Jane Livingston, 58
Sanders, John III (Judge), 58 Schoonmaker, Marius, 60 Schuneman, Elizabeth De Meyer, 36 Schuneman, William, 36
Sedgwick, Henry, 95
Selby, George Edward, 31 Seymour, Mr., 85
Seymour, Mrs., 85
Sheffield, Mr., 51
Sheffield, Mrs., 51
Sheldon, Egbert, 71
Sheldon, Phebe Ann Wing, 71
Sherman, Caleb, 22
Sherman, Sarah Stearns & daughter, 22
Sherman, Wilbur, 22
Simmons, Isaac, 79
Simmons, Sarah, 79
Sisson, Henry, 91
Sisson, Lucy Amanda Howe, 91
Slade, Alsa Sherman, 23
Slade, Joseph, 23
Slade, Philip, 24
Slade, Philip (Mrs.), possibly, 24
Sleight, Aaltje Swartwout (possibly), 39
Sleight, Abraham, 32
Sleight, John A., 32
Sleight, Ruth Roe, 32
Sloane, Letitia (later Chapman), 40
Sloane, Samuel, 41
Sluyter, Lydia Mary Williamson Schureman, 30
Sluyter, Richard (Rev.), 30
Smith, Aaron D. (possibly), 74
Smith, Anna Benedict, 95
Smith, Eliza, 93
Smith, Enos, 95
Smith, Fanny Waterbury, 48
Smith, Gideon, 16
Smith, Isaac (Judge), 35
Smith, James (Col.), 48
Smith, Jane Daney, 27
Smith, John Cotton (Hon.), 80
Smith, Lorrin, 93
Smith, Mary Elizabeth, 49
Smith, Mrs., 54
Smith, Phoebe Lewis, 35
Soggs, Henry and Mary Jane, 76
Soggs, Mariah Durkee, 52
Spicer, Cyrus, 23
Spicer, Mary Eddy, 23
Stakley, Ester, 44
Standish, Hannah (unidentified child), 75
Stevens, William, 62
Stoddard, Ashbel, 17
Stoddard, Patience Bolles, 17
Storm, Elizabeth Phillips, 78
Storm, John Curry, 78
Storm, Thomas Isaac, 56
Stoutenburgh family member, 81
Stoutenburgh, Catherine De Cantillon, 81
Stoutenburgh, Maria Albertson, 81
Stoutenburgh, Tobias Isaac, 81
Strong, Benjamin (possibly), 46
Strong, Frances Smith (possibly), 46
Sunderland, George C., 72
Sutherland, Betsy, 44
Sutherland, Sarah (Sally) Totten, 80
Swartwout, Anna Seward, 39
Taber, Abigail Julia Ayers, 69
Taber, Jonathan Akin, 69
Taber, William Frederic, 76
Teller, Caroline Sammis, 33
Teller, Henry Schenck, 59
Teller, Jane [Catherine] Storm, 59
Teller, Tobias, 33
Ten Broeck, Andrew Jackson, 76
Ten Broeck, Anna Benner, 61
Ten Broeck, Helen (Lena), 61
Ten Broeck, Helen Livingston, 58
Ten Broeck, Jacob Wessel, Jr. and William Henry
Ten Broeck, 74
Ten Broeck, Jacob Wessel, Sr., 61
Ten Broeck, Leonard William, 58
Ten Broeck, Samuel (Gen.), 58
Ten Eyck, Blandina, 38
Ten Eyck, John, 38
Thompson family member (possibly), 31
Thompson, Alexander II, 41
Thompson, Andrew (Mrs.), aka, 46
Thompson, Hannah Bull, 41 Thompson, Robert R., 41
Thompson, Sarah McCurdy, 41
Tompkins, Ann Miller, 67
Vail, Alsop, 42
Vail, Frances Seybolt, 45
Vail, Mr., 72
Vail, Mrs., 72
Van Bergen, Clarine Peck (possibly), 36
Van Deusen, Clymena Tobey, 94
Van Deusen, Ethan Allen, 94
Van Deusen, John, 57
Van Keuren family man & woman, 38
Van Keuren, Catharina, 40
Van Leuven, Rachel DeWitt (possibly), 37
Van Rensselaer, Jane A. Fort, 28
Van Rensselaer, Philip Schuyler (aka), 78
Van Schoonhoven, James, 27
Van Voorhis, Anna, 78
Vanderpoel, Anna Doll, 28
Vanderpoel, James (Judge), 28
Vassar, John Guy Jr., 65
Walbridge, Sally Morgan, 27
Warburton, Mr. (aka), 47
Warburton, Mrs. (aka), 47
Wheeler, Eleanor Knox, 50
Wheeler, William, 50 Williams, Ira, 80
Williams, Melissa Calkins, 80
Winfield, Charles (Dr.), 46
Winfield, Margaret Crawford, 46
Wing, Preston, 71
Woolley, Jeannette Elizabeth, 70
Wright, Jane Eliza Allen, 65
Wynkoop, Anna Eltinge, 38
Wynkoop, Derrick, 38