My People: The Works of Ammi Phillips - Volume 2

My People: The Works of Ammi Phillips

Cover: Susan Wakefield Kinney (1842-1929), Winsted, Litchfield Co., Conn., circa 1851

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.

Valley of the Housatonic, Kent, Connecticut by Jasper Francis Cropsey, 1845. Museum of Fine Arts, Boston.

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). Notices of unclaimed letters for Ammi Phillips at the Wappinger’s Creek (now Wappinger’s Falls) post office in April 1823 and Fishkill post office in July 1823 are evidence of Phillips’s earliest foray into southern Dutchess County, N.Y. and his possible departure by that year.

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. An unclaimed letter for Phillips at the Goshen, Orange County post office (about 10 miles from Mount Hope) in April 1827 also confirms his recent presence in that vicinity. 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 pantalettes 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. An announcement of his July 1830 remarriage was carried in the Delhi, Delaware Co., N.Y. newspaper, which indicates that his recent presence in that area had been well noted.

- A return to Columbia County in 1832 and 1834.

- The aforementioned Kent, Connecticut border-crossing in 1836.

Table 2 – Ammi Phillips Geography by Decade

- 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. See note regarding Delhi, Delaware Co., N.Y. on preceding page.

- 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

Gideon

Chloe

Judson

Charles Rollin Barstow (b.1805) and Pluma Amelia Barstow (b. 1803) 3

[781] 4

in Dr. Samuel Barstow’s diary, October 6, 1811, as painted (cf. Frederick A. Gale, p. 25) by “Philips” , Great Barrington, Berkshire Co., Mass.

Early to Mid-1810’s: The Early and “Border Limner” Periods – Columbia Co., N.Y. and unidentified

Patience Bolles Stoddard and Ashbel Stoddard 5

Unidentified Man [596] 6 holding Washington’s Farewell Address (pub. as 24 p. quarto in 1810) Hudson, Columbia Co., N.Y.

Unidentified Woman 7

Mr. and Mrs. Hardy 8 aka Mrs. Jenkins of Albany (unconfirmed locale)

Unidentified Woman and Man [756 and 644] 9

Unidentified Man [625] 10

Early to Mid-1810’s: The “Border Limner” Period – Washington, Rensselaer and Columbia Co., N.Y.

Mr. and Mrs. Folsom 11

Dr. Nicholas Brown Harris 12 Possibly Araspus Folsom and Susan Pendleton Folsom of Sand Lake, Rensselaer Co., N.Y. Greenwich, Washington Co., N.Y.

Joseph Heath and Mabel Rising Heath 13

Moses Cowan 14 Galesville, Town of Greenwich, Washington Co., N.Y. Greenwich, Washington Co., N.Y.

Harriet Betts Hall (d. 1817) and Dr. Philander Hall 15

Unidentified Man [823] 16 with book Lebanon Springs, Town of New Lebanon, Columbia Co., N.Y. Wilson’s Febrile Diseases (pub. 1809)

Early to Mid-1810’s: The “Border Limner” Period – Columbia Co., N.Y. and vicinity

Sarah Cornwall Everest and Dr. Isaac Everest 17 holding open letter dated “September 17, 1812” New Lebanon, Columbia Co., N.Y.

Mrs. Goodrich & child and Mr. Goodrich 18 and 19 Goodrich Hollow, Berkshire Co., Mass. (accessible only via Columbia Co., N.Y.)

Unidentified Woman and Man [723 and 623] 20 and 21

Mid-1810’s: The “Border Limner” Period – The Dorr family, Chatham, Columbia Co., N.Y. (relative sizes)

Polsapianna Bull Dorr & Esther Maria Dorr (b. 1814) and Dr. Russell Dorr 22 sister of Sarah Bull Dorr and brother of Col. Joseph Dorr [p. 23] Chatham, Columbia Co., N.Y.

Paulina Dorr (b. 1803) 23

Henrietta Dorr (b. 1808) 24

Catherine Van Slyck Dorr (b. 1804) 25 Chatham, Columbia Co., N.Y. Chatham, Columbia Co., N.Y. Chatham, Columbia Co., N.Y.

Joseph Priestly Dorr (b. 1805) 26

Robert Lottridge Dorr (b. 1812) 27 Russell Griffin Dorr (b. 1807) 28 Chatham, Columbia Co., N.Y. Chatham, Columbia Co., N.Y. Chatham, Columbia Co., N.Y.

Mid-1810’s: The “Border Limner” Period – Hoosick and Hoosick Falls, Rensselaer Co., N.Y.

“John Haynes Aged 41 Years

“Phebe Haynes Aged 41 Years Painted by A Phillips Ad 1814” 29 Painted by A Phillips Ad 1814” 30 Hoosick, Rensselaer Co., N.Y. Hoosick, Rensselaer Co., N.Y.

Rebecca Rouse Eddy and Jonathan Eddy 31 with bible and ledger Hoosick Falls, Rensselaer Co., N.Y.

Mid-1810’s: The “Border Limner” Period – Pittstown, Rensselaer Co., N.Y. and unidentified

inscribed “George Fake, Age 49 years, and 9 months. Nov.16, 1815” and “Catherine Fake, Age 45 years 5 months - Nov.16, 1815”

Wilbur Sherman and Sarah Stearns Sherman & daughter 32

Caleb Sherman 33 inscribed “Aged 39 Years 1815” and “Aged 26 Years 1815” father of Wilbur Sherman [left] Pittstown, Rensselaer Co., N.Y. and Alsa Sherman Slade [p. 23] Pittstown, Rensselaer Co., N.Y.

Unidentified Woman [694] 34

Johan Georg Fake, Jr. and Catherine Sneider Fake 35 with “Sparrman’s Voyage” vol. 2

Pittstown, Rensselaer Co., N.Y.

Unidentified Woman [827 and 828] 36 (two portraits of same subject on opposite sides of a single canvas)

Mid-1810’s: The “Border Limner” Period – Rensselaer Co., N.Y. (all large-format, shown at reduced scale)

Alsa Sherman Slade and Joseph Slade 37

Amy Chase Bull 38 inscribed “Aged 49 Years AD 1816” and “Aged…Years AD 1816” mother of Sarah Bull Dorr [below] holding Erasmus Darwin’s “Temple of Nature” (published 1804) and Polsapianna Bull Dorr [p. 20] Hoosick, Rensselaer Co., N.Y. Hoosick Falls, Rensselaer Co., N.Y.

Mary Eddy Spicer and Cyrus Spicer 39

Milton Dorr 40 Hoosick, Rensselaer Co., N.Y. Hoosick Falls, Rensselaer Co., N.Y.

Sarah Bull Dorr and Col. Joseph Dorr 41

Milton Dorr (purportedly) 42 sister of Polsapianna Bull Dorr and brother of Dr. Russel Dorr [p. 20] or possibly Josephus Dorr Hoosick Falls, Rensselaer Co., N.Y. Hoosick Falls, Rensselaer Co., N.Y.

Mid-to-Late 1810’s: The “Border Limner” Period – Rensselaer Co., N.Y. and unidentified

Mrs. Crane and Dr. Crane 43 holding “Boyer on the Bones” (published 1805) (unknown locale)

Unidentified Man and Woman [630 and 740] 44

Philip Slade 45

Unidentified Woman 46 Napoleon Bonaparte Buell 47 inscribed “Aged 56 AD 1818” with “Holy Bible” inscribed “N.B. Buel” and “1818” Hoosick, Rensselaer Co., N.Y. possibly Mrs. Philip Slade (uncertain locale)

Mid-to-Late 1810’s: The “Border Limner” Period – Washington and Rensselaer Co., N.Y. (shown to relative size)

“M.A. Barker Age 3 years 1816” 48

Harriet Campbell (b. 1808) 49

Harriet Leavens (b. 1802) 50 possibly Easton, Town of Greenwich, Greenwich, Washington Co., N.Y Lansingburgh (now part of Troy), Washington Co., N.Y. Rensselaer Co., N.Y.

Jerusha Rogers (b. circa 1804) 51 Greenwich, Washington Co., N.Y (canvas possibly reduced)

Mary Elizabeth Gale (b. 1813) 52

Frederick A. Gale (b. 1810) 53

Galesville, Town of Greenwich, Galesville, Town of Greenwich, Washington Co., N.Y. Washington Co., N.Y.

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.

Nancy Caldwell Church Robinson and Gen. David Robinson 54

Rev. Jonas Coe 55

Circa 1818-20: The Troy Period – Rensselaer and Columbia Co , N.Y. and unidentified

Sally Morgan Walbridge 56

“J. Van Schoonhoven, Aged 38” 57

Jane Daney Smith 58 Lansingburgh (now part of Troy) original frame inscribed “Ammi (problematic identification) Rensselaer Co., N.Y. Phillips painted June 7th 1819” holding “Prayer Book” Troy, Rensselaer Co., N.Y. Troy, Rensselaer Co., N.Y.

Amy Lottridge Davis

Ruth Haynes Palmer 59 daughter Nancy Smith Lamphear 60 and Ann Jane Davis 61 of John and Phebe Haynes [p. 21] (problematic identification) Hoosick Falls, Rensselaer Co., N.Y. Hoosick, Rensselaer Co., N.Y. purported dau. of Jane D Smith Troy, Rensselaer Co., N.Y.

Unidentified Woman [737] 62

Rhoda Goodrich Bentley and Louisa H. Bentley (b. 1813) 63 holding Thomas “Chalkley’s” Journal and William Northrup Bentley 64 holding “Horrors of Slavery” (published 1808 and 1818) Lebanon Springs, Town of New Lebanon, Columbia Co., N.Y.

Circa 1820-21: The Troy Period – Rensselaer and Columbia Co , N.Y. and unidentified

Betsy Brownell Gilbert 65

Harriet Hill 66

Catherine Couenhoven Clark 67 (uncertain locale) Troy, Rensselaer Co., N.Y. Troy, Rensselaer Co., N.Y.

Unidentified Woman and Man [725 and 631] 68

Unidentified Woman “1820” 69 inscribed “July 1820” on the original stretchers aka Jane A. Fort Van Rensselaer Claverack, Columbia Co., N.Y.

Judge James Vanderpoel and Anna Doll Vanderpoel 70

Unidentified Man [641] 71 Kinderhook, Columbia Co., N.Y. holding snake cane

Circa 1820-21: The Troy Period – Rensselaer and Columbia Co., N.Y. and unidentified (continued)

Unidentified Woman [736] 72

Bithiah Soullard Haskell and John Haskell 73 Troy, Rensselaer Co., N.Y.

Gertrude Snyder Harder and William G. Harder 74

Jonathan Lane 75 “by Mr. Ammi letter postmarked Albany, addressed to “William Harder, Ghent” Phillips of Troy March 30th 1821” Ghent, Columbia Co., N.Y. Livingston, Columbia Co., N.Y

Catherine Douw Hoffman Philip and Col. Henry G. Philip 76

Dr. Thomas Brodhead 77 holding letter addressed to "Mr. Henry G. Philip, Claverack" Clermont, Columbia Co., N.Y. Claverack, Columbia Co., N.Y.

Circa 1820-21: The Troy Period – Rensselaer and Columbia Co., N.Y. and unidentified (continued)

Samuel Robert Campbell and Sarah Mynderse Campbell 78

Unidentified Man [567] 79 parents of Jane Ann Campbell [p. 31] Schodack, Rensselaer Co., N.Y.

Rev. John Gabriel Gebhard and Anna Maria Magdalene Carver Gebhard 80 Dr. John A. McClellan 81 inscribed "J. Gebhard Ætatis 71 1820 Painted by A. Phillips"

“1821 / Painted by A. Phillips” and “Anna M. Gebhard Ætatis 64 1820 Delineavit A. Phillips” Livingston, Columbia Co., N.Y. Claverack, Columbia Co., N.Y.

Lydia Mary Williamson Schureman Sluyter and Rev. Richard Sluyter 82 Dr. Asa Jordan 83 protégé and successor of Rev. John Gabriel Gebhard or possibly Dr. Abram Jordan Claverack, Columbia Co., N.Y. Claverack, Columbia Co., N.Y.

Circa 1815-22: The Troy Period – Young People

Philip Titus Heartt (b. 1806) 84

Unidentified Boy with dog [776] 85 Jane Ann Campbell (b. 1817) 86 labeled “1815 at eight year of age” (canvas possibly reduced) daughter of Samuel and Troy, Rensselaer Co., N.Y.

Sarah Campbell [p. 30] Schodack, Rensselaer Co., N.Y.

Jonas Coe Heartt 87

Unidentified Girl [789] 88

Mary Ann Steenback Gale 89 brother of Philip Titus Heartt possibly a member of the Thompson (b. 1806) 2nd cousin of Mary E. Troy, Rensselaer Co., N.Y. family of Rensselaer Co., N.Y. and Frederick A. Gale [p. 25] (uncertain locale)

Boy of the Cook family 90

Unidentified Man [665] 91

George Edward Selby 92 of Albany (uncertain locale) married at age 17 in May of 1821, possibly at Schodack, N.Y.

Circa 1821-22: The Rhinebeck Period – Fishkill, Dutchess Co., N.Y.

Eliza DuBois 93

Hannah Cooper du Bois and (purportedly) Garret du Bois 94 and 95 Fishkill, Dutchess Co., N.Y.

parents of Eliza DuBois and Charles Louis du Bois Fishkill, Dutchess Co., N.Y.

Mary Thorn Du Bois and Coert Du Bois 96

Charles Louis du Bois 97 Rhinebeck or Fishkill, Dutchess Co., N.Y.

Fishkill, Dutchess Co., N.Y.

John A. Sleight 98

Ruth Roe Sleight and Abraham Sleight 99 brother of John A. Sleight brother of Abraham Sleight holding knitting and “Scott’s Bible / Gen - Jos / Vol. I” (pub. 1810) Fishkill, Dutchess Co., N.Y. Fishkill, Dutchess Co., N.Y.

Circa 1821-22: The Rhinebeck Period – Red Hook and Pine Plains, Dutchess Co., N.Y. and unidentified

Fyler Dibblee (possibly) 100

Tobias Teller and Caroline Sammis Teller 101 Pine Plains, Dutchess Co., N.Y.

Red Hook, Dutchess Co., N.Y.

Col. Nathan S. Beckwith and Elizabeth “Betsey” Gale Beckwith 102

Unidentified Man [597] 103 with address and names inscribed on letter and book Red Hook, Dutchess Co., N.Y.

Charlotte H. Newcomb Benedict and Dr. Abijah Gilbert Benedict 104 inscribed "Doct. A G Benedict / Red Hook / Dutchess Cy. N Y" on letter postmarked "NEW YORK / AUG / 23, 1822"

Circa 1821-22: The Rhinebeck Period – Red Hook and Pine Plains, Dutchess Co., N.Y. and unidentified (cont’d.)

Lois Atherton Allerton 105 mother

Dr. Cornelius Allerton 106 holding Polly Smith Husted 107 motherof Dr. Cornelius Allerton, holding “Parr’s Medical Dictionary” (pub. in-law of Dr. Cornelius Allerton “The Gospel Herald” (pub. 1820-27) 1819), with horse in background Pine Plains, Dutchess Co., N.Y. Pine Plains, Dutchess Co., N.Y. Pine Plains, Dutchess Co., N.Y.

previously Unidentified Woman [741] 108 Lois Davis Hamlin and David Hamlin 109 copy of Lois Atherton Allerton [above] Red Hook, Dutchess Co., N.Y.

Unidentified Man and Woman [647 and 766] 110

Rhoda Bennett Couch 111 mother of Dr. John W. Couch [p. 52] Pine Plains, Dutchess Co., N.Y.

Circa 1821-22: The Rhinebeck Period – Lithgow, Dutchess Co., N.Y. and unidentified

Phoebe Lewis Smith and Judge Isaac Smith 112 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] 113 holding “[The] Plough Boy” and strawberry sprig

William Schuneman and Elizabeth De Meyer Schuneman 114

John Kenyon (possibly) 115 Catskill, Greene Co., N.Y.

Catskill, Greene Co., N.Y.

Clarine Peck Van Bergen 116 Louisa Heyer Jackson 117

Anna Shuler Cady 118 holding “Henry on Prayer” Florida, Montgomery Co., N.Y. Florida, Montgomery Co., N.Y. Coxsackie, Greene Co., N.Y. (uncertain attribution) (uncertain attribution)

Rev. Winslow Paige and Clarissa Keyes Paige 119

William Cockburn 120 in-laws of Louisa Heyer Jackson and Anna Shuler Cady Kingston, Ulster Co., N.Y. Broome, Schoharie Co., N.Y. (uncertain attribution)

Circa 1822-23: The West Bank Portraits – Ulster Co., N.Y.

Maria Van Leuven Overbagh and Rev. Peter Abraham Overbagh 121

Unidentified Woman [681] 122 parents of John Van Leuven Overbagh [p. 59]

possibly Rachel DeWitt Van Leuven and Rachel Ann Maria Overbagh Ostrander [p. 74] mother of Maria V.L. Overbagh [left] Saugerties, Ulster Co., N.Y.

Saugerties, Ulster Co., N.Y.

Blandina Margaret Oliver 123

Maria Oliver Hardenburgh and Jacobus Hardenburgh (possibly) 124 niece of Kate Elting [p. 40] holding “Life of Christ” and “Portraiture of Methodism” Marbletown, Ulster Co., N.Y. Kingston, Ulster Co., N.Y.

Dr. Abraham Ten Eyck De Witt, holding “Cullen’s Practice of Physic” 125 Rev. Thomas De Witt 126 and Leah Dubois Wynkoop De Witt, niece of Derrick Wynkoop [p. 38] 127 holding “Horne on the Psalms” Kingston, Ulster Co., N.Y. Kingston, Ulster Co., N.Y.

Unidentified Man [661] 128

Ten Eyck De Witt 129

John Ten Eyck 130 holding “Milton’s Works,” inscribed Kingston, Ulster Co., N.Y. brother of Blandina Ten Eyck “Ammon Philips [sic] July 20th, 1823 Hurley, Ulster Co., N.Y Woodstock [Ulster Co.], New York”

Anna Eltinge Wynkoop and Derrick Wynkoop 131

Blandina Ten Eyck 132 sister of holding eagle snuffbox and silver-tipped cane John Ten Eyck, holding snuffbox Hurley or New Paltz, Ulster Co., N.Y. Hurley, Ulster Co., N.Y.

Unidentified Woman and Man of the Van Keuren family 133

Member of the Newkirk family 134 possibly Sarah Myer Van Keuren and Hezekiah Van Keuren

holding “Milton’s Works” Kingston, Ulster Co., N.Y. West Hurley, Ulster Co., N.Y.

Circa 1823-24: The Southwest Hudson Portraits – Ulster Co., N.Y. and related Dutchess Co., N.Y

Philip Bevier Hasbrouck and Esther Bevier Hasbrouck 135

Ann DeWitt Bevier 136 holding “Hume / Vol 3” and leaning on “Milton’s Works” mother of Esther Bevier Hasbrouck New Paltz, Ulster Co., N.Y. and Hylah Bevier Hasbrouck Accord, Ulster Co., N.Y.

Jane Bevier Deyo 137

Levi Decker Hasbrouck and Hylah Bevier Hasbrouck 138 (problematic identification) New Paltz, Ulster Co., N.Y. Guilford, Town of Gardiner, Ulster Co., N.Y

Aaltje Swartwout Sleight 139

Anna Seward Swartwout 140 Unidentified Man [591] 141 (problematic identification) holding “Cowper’s Task” Fishkill, Dutchess Co., N.Y. Swartwoutville (Fishkill), Dutchess Co., N.Y.

Circa 1823-24: The Southwest Hudson Portraits – Ulster, Sullivan and Orange Co., N.Y.

Sarah Maria DuBois (Easton) 142

Maria Eliza Hasbrouck (Reeve) 143

Kate Elting (Crispell) 144 or Jane Hasbrouck (Hasbrouck) or Pamela DuBois (Hasbrouck) New Paltz, Ulster Co., N.Y. with “Lady of the Lake” (pub. 1823) New Paltz, Ulster Co., N.Y. New Paltz, Ulster Co., N.Y.

Elizabeth Smith Hunter and David Hunter 145 holding Catharina Van Keuren (Dubois) 146 “Speech of His Excellency De Witt Clinton” as published in 1822 Kingston, Ulster Co., N.Y. Bloomingburg, Sullivan Co., N.Y.

Ann Eliza Sloan Dorrance and Dr. Benjamin Brewster Dorrance 147

Letitia Sloane (Chapman) 148 holding “Orfila on Poisons” (translation published 1818) sister of Samuel Sloane [p. 41] Bloomingburg, Sullivan Co., N.Y. Wallkill, Orange Co., N.Y.

Circa 1824: The Southwest Hudson / Early Realistic Period – Orange Co., N.Y. and unidentified

Daniel Bull 149 signed “A Phillips”

Hannah Bull Thompson and Alexander Thompson II 150, 151 father of Hannah Bull Thompson both inscribed “Painted by Ammi Phillips AD 1824” Town of Crawford, Orange Co., N.Y. Thompson Ridge, Town of Crawford, Orange Co., N.Y.

Robert R. Thompson and Sarah McCurdy Thompson 152

Luther Halsey 153 holding letter “Mrs. Sarah Thompson, Crawford” Newburgh or Blooming Grove, Thompson Ridge, Town of Crawford, Orange Co., N.Y. Orange Co., N.Y.

Samuel Sloane 154 brother of Letitia [p. 40] Unidentified Man and Woman [593 and 667] 155 holding “Butler’s History” (pub. 1820-22) holding “Bell’s Surgery” (published 1795-1826) Wallkill, Orange Co., N.Y.

Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified

“Peleg Pelton aged 67 years / 156 “James Ketcham Aged 69 / 157 “Alsop Vail Aged / 65 Years 158 Ammi Phillips – Pinct” [1826] Year 1826 / Ammi Phillips Pinxit” 1826 / A. Phillips Pinct" Mount Hope, Orange Co., N.Y. Mount Hope, Orange Co., N.Y. Mount Hope, Orange Co., N.Y.

Pauline Darling Denton and Samuel Denton 159 (married 1823)

Unidentified Man [629] 160 Middletown, Town of Wallkill, Orange Co., N.Y.

Unidentified Man [636] 161

Unidentified Man and Woman [640 and 751] 162 holding clay pipe

Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)

Unidentified Woman [755] 163

Dr. Gabriel Norton Phillips and Elizabeth Payne Phillips 164 Phillipsburg, Town of Wallkill, Orange Co., N.Y.

Cicero Hinds 165

Unidentified Man and Woman [572 and 713] 166, 167 (uncertain locale)

Unidentified Man [664] 168

Esther Cummins Fisk and Rev. Ezra Fisk 169, 170 Goshen, Orange Co., N.Y.

Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)

Unidentified Man [585] 171

Unidentified Man [562] 172

Unidentified Man [663] 173 with quill and “Die Bibel”, with quill and ledger book possibly the father of child with teething ring and dog [p. 75]

Unidentified Man [573] 174

Dr. Seth Capron and Eunice Mann Capron 175 holding “Niles’ Weekly Register” (published 1811-36) Walden, Town of Montgomery, Orange Co., N.Y.

Mr. and Mrs. John Lawrence 176 Ester Stakley (unknown locale) or Betsy Sutherland 177 (uncertain locale)

Mid-to-Late 1820’s: The Realistic Period – Orange, Dutchess and Ulster Co., N.Y. and unidentified

Unidentified Woman [709] 178

“Frances [Seybolt] Vail Aged 69 “Anne [Stoddard] Pelton aged in floral-upholstered wingchair

Years 1826 / A. Phillips Pinct” 179 67 years / A. Phillips - Pinct” 180 (uncertain attribution) wife of Alsop Vail [p. 42]

wife of Peleg Pelton [p. 42]

Mount Hope, Orange Co., N.Y. Mount Hope, Orange Co., N.Y

Unidentified Woman [735] 181

Catharine Helen Miller Bull 182

Unidentified Woman [679] 183 wife of Daniel Bull [p. 41] and mother of Hannah Bull Thompson [p. 41] Town of Crawford, Orange Co., N.Y.

Ruth Wolsey Griffin 184

Elizabeth Du Bois Bailey 185

Abigail Greelé Eliot 186 (uncertain identification) sister of Coert Du Bois [p. 32] Woodstock, Ulster Co., N.Y. Fishkill, Dutchess Co., N.Y. Fishkill, Dutchess Co., N.Y.

Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified

Col. William Shultz Little and Betsey Ketcham Little 187

Unidentified Woman [693] 188 son-in-law and daughter of James Ketcham [p. 42] (aka Mrs. Andrew Thompson, Mount Hope, Orange Co., N.Y. of Crawford, Orange Co., N.Y.)

Unidentified Woman and Man [767 and 588] 189

Unidentified Woman [687] 190 possibly Frances Smith Strong and Benjamin Strong Goshen, Orange Co., N.Y.

Unidentified Woman [674] 191

Dr. Charles Winfield and Margaret Crawford Winfield (d. 1828) 192 Town of Crawford, Orange Co., N.Y.

Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)

Unidentified Man [637] 193

Unidentified Man and Woman, aka Mr. & Mrs. Warburton 194 holding “Boyer’s [French] Dictionary” holding Dr. Samuel Parr’s “Warburton’s Letters” (first American edition published 1822) (a volume from The Works of Samuel Parr, published 1828)

Dr. David Reeve Arnell (d. 1826) 195 Dr. John T. Jansen and Clarissa LeFevre Dolson Jansen 196 holding “Bell’s Surgery” and spectacles holding “Bostock’s Physiology” (pub. 1824-27) and “C. Jansen” Goshen, Orange Co., N.Y. Minisink, Orange Co., N.Y.

Henry Cuddeback and Esther Gumaer Cuddeback 197

Unidentified Woman [683] 198 Town of Deerpark, Orange Co., N.Y.

Samuel Callender Howell holding “Ramsay’s History, Vol. III” (published 1816-17) and Sally Jane Beakes Howell, niece of Stacy Beakes, Jr. [below], holding a white rose 199 Mount Hope, Orange Co., N.Y.

Col. James Smith and Fanny Waterbury Smith holding an apple 200 parents of Mary Elizabeth Smith [opposite] Wallkill, Orange Co., N.Y.

Stacy Beakes, Jr. with antler-handled cane and Mary Smith Beakes holding a pink rose 201 Wallkill, Orange Co., N.Y.

Mid-to-Late 1820’s: The Realistic Period – Orange Co., N.Y. and unidentified (continued)

Unidentified Child [792] 202

Mary Elizabeth Smith (b. 1827) 203 Wallkill, Orange Co., N.Y.

Unidentified Woman and Child [706] 204

Mid-to-Late 1820’s: The Realistic Period – Delaware and Chenango Co., N.Y. and unidentified

Leonard Newton Allis 205

William Wheeler and Eleanor Knox Wheeler 206 holding “Revised Statutes of parents of Malina Wheeler Knapp New York, Vol. I” (published 1829) Deposit, Delaware Co., N.Y. Coventry, Chenango Co., N.Y.

Catherine A. May (Stimson) 207

Charles Augustus Marvine 208 Malina Wheeler Knapp 209 Delhi, Delaware Co., N.Y.

Delhi, Delaware Co., N.Y.

Deposit, Delaware Co., N.Y.

Unidentified Man [613] 210

Unidentified Man and Woman [643 and 700] 211, 212 holding “Cooper’s Surgery, Vol. I” (published 1825)

Mid-to-Late 1820’s: The Realistic Period – Dutchess Co., N.Y. and unidentified

Ebenezer Punderson 213

Palmer Cook and Mary Halsley Cook 214 holding newspaper with book “Common Prayer”

New-York “Enquirer” for the “Country” dated “August 8, 1828”

Red Hook, Dutchess Co., N.Y

Red Hook, Dutchess Co., N.Y. (one of four copies)

Samuel Deuel 215

Clarissa Benton Hunt and Joseph Drake Hunt 216 father of Mary Margaret Deuel [p. 76] holding letter dated “December 1828” Pine Plains, Dutchess Co., N.Y. Amenia, Dutchess Co., N.Y.

Unidentified Man and Woman, aka Mr. & Mrs. Sheffield 217

Margaret Platt Bockee 218 (unknown locale) Pine Plains, Dutchess Co., N.Y.

Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity

Mary Christopher Van Doorn Couch and Dr. John Whitfield Couch 219

Unidentified Woman [684] 220 holding a Laennec stethoscope, inscribed “M.C. Couch 1829 AE 24” identical, except chair vs. book, and “J.W. Couch 1829 AE 33”, North East, Dutchess Co., N.Y. to Mariah Durkee Soggs [below]

Philo Reed and Abigail Reynolds Reed 221

Mariah Durkee Soggs 222 “Aged 42, Taken by Phillips 1829” and holding letter dated “Feb 19th” mother of Henry Soggs and brother-in-law and sister of George Greenwood Reynolds

Mary Jane Soggs [p. 76] Amenia, Dutchess Co., N.Y. Woodstock, Ulster Co., N.Y.

Dr. Elmore Everitt, M.D. 223

George Greenwood Reynolds and Abigail Penoyer Reynolds 224 holding “Studies of Nature, Vol. I” “Painted by A. Phillips June 24, 1829”, holding “Intelligencer" Amenia, Dutchess Co., N.Y. dated “June 24, 1829 ” Amenia, Dutchess Co., N.Y.

Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity (continued)

Robert Hoag (brother of Tripp Hoag) and Phebe Pugsley Hoag 225

Olivia Kimberly Adams 226 holding “[The Dutchess] Inteligencer” [sic] dated “July 10, 1829” mother of Abigail Adams Hoag Pine Plains, Dutchess Co., N.Y. Amenia, Dutchess Co., N.Y.

Abigail Adams Hoag (Mrs. Milton Hoag) 227 Tripp Hoag (brother of Robert Hoag) and Sally Ann Hoag 228 daughter of Olivia Kimberly Adams holding “[The Republican Teleg]raph & Observer” Amenia, Dutchess Co., N.Y. dated “August 12, 1829”, Pine Plains, Dutchess Co., N.Y.

“Isaac Hunting aged Sixty five Years and Ten months, 1829” 229 and Mrs. Dr. Downe 230 Hannah Lewis Husted Hunting 231 parents of Morgan Hunting [p. 54] (unknown locale) Pine Plains or Stanford, Dutchess Co., N.Y.

Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity (continued)

“John Garnsey Aged / 61 Years 1830” and “Mercy Garnsey

Unidentified Woman 232 / Aged 59 Years 1830” (inscribed in red on front of canvas) 233 aka Mrs. Smith of Elmira, N.Y. North East, Dutchess Co., N.Y. (unconfirmed locale)

Unidentified Man and Woman [622 and 730] 234

Mary Hamilton Ingraham 235 holding “Holy Bible” mother of Lucy Hamilton inscribed “M. Ingraham 1829”

Morgan Hunting and Julia Barton Hunting 236

Lucy Hamilton 237 holding letter “Mr. Morgan Hunting / Pine Plains, NY” with same bible behind chair Pine Plains or Stanford, Dutchess Co., N.Y. Amenia, Dutchess Co., N.Y.

Circa 1829-30: The Amenia Portraits – Amenia, Dutchess Co., N.Y. and vicinity (continued)

Louisa Park Benjamin 238

Charles Wesley Powers 239 and Jane Ann Benjamin Powers 240 mother of Jane Ann Benjamin Powers holding “Morning Courier” dated “October 30, 1829” Amenia, Dutchess Co., N.Y. Amenia, Dutchess Co., N.Y.

Unidentified Woman [772] 241

Mary Powers 242 sister of

Caroline Powers 243 sister of Charles W. and Caroline Powers Charles W. and Mary Powers Amenia, Dutchess Co., N.Y. Amenia, Dutchess Co., N.Y.

Unidentified Woman [771] 244

Sherman Bassett and Hannah Sornborger Bassett 245 holding “Niles’ Register” dated “April 10, 1830” and letter postmarked “April 10” North East, Dutchess Co., N.Y.

Dr. Peter B. Guernsey (and patient) 246 and Mary Ann Thorne Guernsey 247 Fanny Brush Rundle 248 books on shelf include Travers’ Diseases of the Eye (pub. New York, 1825) New Hartford, Litchfield Co., Town of Milan, Dutchess Co., N.Y. Conn.

Unidentified Man [563] 249

Unidentified Man [646] 250 Mrs. Cobb 251 (unknown locale)

Thomas Isaac Storm 252 Hendrick Hulst, holding Baxter’s “[The] Saints’ [Everlasting] Rest”, Fishkill, Dutchess Co., N.Y. and Aletta Van Alst Hulst, holding spectacles and with “History” 253 Fishkill, Dutchess Co., N.Y.

Circa 1830: The Early “Kent Limner” Period – Greene Co., N.Y. and unidentified

John Van Deusen 254

Dr. Horatio Dewey 255

James Elting 256 father-in-law of Dr. Horatio Dewey

holding “Anatomy” Cairo, Greene Co., N.Y. (probably) Columbia or Greene Co., N.Y. Leeds, Greene Co., N.Y.

Katherine Salisbury Newkirk Hickok

257

Dr. Levi King and Lovisa Peck King 258 Catskill, Greene Co., N.Y.

holding “Cooper’s Surgery, Vol. I” (published 1825) Cairo, Greene Co., N.Y.

Horace Austin and Mary Ludlow Austin 259

Elizabeth Mygans (or Mygatt) 260 Cairo, Greene Co., N.Y. (uncertain locale)

Circa 1832: The Early “Kent Limner” Period – Columbia Co., N.Y. and unidentified

Gen. Samuel Ten Broeck 261

Leonard William Ten Broeck and Helen Livingston Ten Broeck 262 with cane initialed “S.T.B.” son of Gen. Samuel Ten Broeck and stepdaughter of Elizabeth Clermont, Columbia Co., N.Y. McKinstry Livingston, holding “Albany Argus” dated “May 8, 1832” Clermont, Columbia Co., N.Y.

Elizabeth McKinstry Livingston 263 Judge John Sanders III and Jane Livingston Sanders 264, 265 mother of Jane Livingston Sanders with “Plutarch, Vol. I” and holding sewing box Blue Stores, Town of Clermont, Clermont, Columbia Co., N.Y. Columbia Co., N.Y.

Unidentified Woman and Man [675 and 602] 266

Unidentified Woman [754] 267 holding “New-York Enquirer” dated “July 3, 1832.”

Circa 1833: The Early “Kent Limner” Period – Dutchess and Ulster Co., N.Y. and unidentified

Welcome B. Arnold and Mary L. Rowe Arnold 268

Unidentified Woman [752] 269 with letter on table dated “Rhinebeck, Feb. 1, 1833” possibly Melinda Ann Arnold (24) Town of Clinton, Dutchess Co., N.Y. dau. of Welcome and Mary Arnold

John Van Leuven Overbagh 270

Dr. William Cantyne De Witt and Elizabeth Hardenbergh De Witt brother of Rachel Ostrander [p. 74] with “Good’s Study of Medicine” vols. IV and V (pub. 1826) 271, 272 Saugerties, Ulster Co., N.Y. Saugerties, Ulster Co., N.Y.

Henry Schenck Teller and Jane [Catherine] Storm Teller 273

Unidentified Woman [744] 274 with unusual forward-leaning pose and leaf-carved sofa Fishkill, Dutchess Co., N.Y.

Early 1830’s: The Early “Kent Limner” Period – Greene and Ulster Co., N.Y. and unidentified

Marius Schoonmaker 275

Sarah Ann Palen Northrop and Lewis Northrop 276 Kingston, Ulster Co., N.Y. Cairo, Greene Co., N.Y.

Unidentified Man [581] 277

Mrs. Day and Mr. Day (aka Mrs. Bradley and Mr. Bradley) 278 holding riding crop holding “Religious Intelligencer” (published 1816-37)

Unidentified Man and Woman [579 and 719] 279

Mrs. Mayer and Daughter 280 holding “Albany Argus” (published 1813-56) (cf. Children in Red Dresses, p. 75)

Circa 1834: The Early “Kent Limner” Period – Columbia and Ulster Co., N.Y. and unidentified

Helen [Lena] Ten Broeck 281

William Henry De Witt and Catherine Ten Broeck De Witt 282 inscribed “aged 30 years 1834” sister of Helen [Lena] Ten Broeck Germantown, Columbia Co., N.Y. Germantown, Columbia Co., N.Y.

Jacob Wessel Ten Broeck, Sr. and Anna Benner Ten Broeck 283 holding

Hannah Masten Radcliff 284 pamphlet “Agricultural Society of the County of Columbia 1834 Clermont” proprietress, Ulster County House, Clermont, Columbia Co., N.Y. Kingston, Ulster Co., N.Y.

Henry Lawrence and Christiana Rockefeller Lawrence 285

Jacob Hasbrouck De Witt 286 labeled “1834 / Aged 29 Years” and “1834 / Aged 28 Years” holding antler-handled cane Germantown, Columbia Co., N.Y. Kingston, Ulster Co., N.Y.

Circa 1834-35: The Early “Kent Limner” Period – Dutchess Co., N.Y. and unidentified

Abraham Patterson 287 holding

James de Long 288 holding

Unidentified Man [592] 289 “Telegraph” dated “July 9, 1834” “Washington’s Farewell Address” Fishkill, Dutchess Co., N.Y. Beekman, Dutchess Co., N.Y.

John Hughes [John Hughson] 290

Unidentified Woman and Man [726 and 655] 291 holding the New-York American possibly of Dutchess Co., N.Y. dated “November 6, 1835” Hughsonville, Dutchess Co., N.Y.

Caroline Jane Opie 292

William Stevens 293 (brother of Margaret Stevens Bentley 294 Staatsburg or LaGrangeville Margaret Stevens Bentley) or Elizabeth Buckley Dutchess Co., N.Y. Pawling, Dutchess Co., N.Y. (uncertain locale)

Early to Mid-1830’s: The Early “Kent Limner” Period – Dutchess Co., N.Y. and unidentified

Unidentified Man [589] 295

Unidentified Man and Woman [619 and 721] 296

Unidentified Man [821] 297

James Ketcham and Lois Belding Ketcham 298, 299 with ledger, quill, and spectacles Dover Plains, Dutchess Co., N.Y.

Unidentified Man [628] 300

Unidentified Woman and Man of the Russell family 301 holding newspaper “Telegraph” with leaf-carved sofa and unusual backward-leaning pose probably Dutchess Co., N.Y.

Circa 1836: The “Kent Limner” Portraits - Kent, Litchfield Co., Conn. and vicinity

Rufus Fuller and (2nd wife) Elizabeth Drake Fuller 302

Almira Lucretia Mills Adams (Perry) 303 father and stepmother of Julia Ann Fuller Barnum sister of Florilla Mills Raymond Kent, Litchfield Co., Conn. Kent, Litchfield Co., Conn.

John Milton Raymond and Florilla Mills Raymond 304

Hannah Mills Raymond (Newcomb) holding “Observer” dated “July 4, 1836”

or Myra Ann Mills Raymond (Haxtun) 305 Kent, Litchfield Co., Conn. dau. of John and Florilla Mills Raymond Kent, Litchfield Co., Conn.

Matthew Starr Barnum 306 and Julia Ann Fuller Barnum 307

Phoebe E. Preston Haviland 308 holding “Morning Courier” dated “June 13, 1836” and parsley sprig Wingdale, Dutchess Co., N.Y. Kent, Litchfield Co., Conn. (adjacent to Kent, Conn.)

Mid-1830’s The “Kent Limner” Period – Dutchess Co., N.Y. and unidentified

Unidentified

Marquis de La Fayette Phillips and Jane Maria Pells Phillips 309

“A.E. Allen / Aged 30 / 1836” 310 holding books inscribed “M.D.L.F. Phillips” and “J.M. Phillips” probably Ann Eliza Frear Allen, Pleasant Valley, Dutchess Co., N.Y. first cousin of J.M. Pells Phillips Poughkeepsie, Dutchess, Co., N.Y.

Abraham Burton and Celia B. Sayrs Burton 311

Jane Eliza Allen Wright 312 holding letter “Abram Burton / Amenia, New York” sister-in-law of Ann Eliza Allen Amenia, Dutchess Co., N.Y. Pleasant Valley, Dutchess Co., N.Y.

John Guy Vassar, Jr. 313

Man and Woman [578 and 697] 314 holding blank letter with “Revised Statutes, Vol. I” (pub. 1829) and “Common Prayer” Poughkeepsie, Dutchess Co., N.Y.

Mid-1830’s: The “Kent Limner” Period – Ulster Co., N.Y. and unidentified

two

were reported stolen

Unidentified Man [624] 315

Peter Cornell 316

Thomas Cornell 317 holding quill pen father of Thomas Cornell son of Peter Cornell Kingston, Ulster Co., N.Y. Kingston, Ulster Co., N.Y.

The above

paintings

in 1988 (see Volume 1)

Jeremiah Russell and Elizabeth Moose Russell 318

Unidentified Woman [673] 319 holding quill pen and spectacles holding spectacles

Saugerties, Ulster, Co., N.Y.

found in Saugerties, Ulster Co., N.Y.

Isaac Cocks (aka Captain Isaac Cox) and Martha Van Duzer Cocks 320

Unidentified Woman [692] 321 holding letter, book and parsley sprig Kingston, Ulster Co., N.Y.

Mid-1830’s: The “Kent Limner” Period – Litchfield Co., Conn and Westchester Co., N.Y.

Jeanette Payne 322

Ann Miller Tompkins 323

Mary Hoyt 324 holding parsley sprig holding parsley sprig holding parsley sprig and book Warren, Litchfield Co., Conn. Somers, Westchester Co., N.Y. (uncertain locale)

Unidentified Man and Woman [590 and 689] 325

Unidentified Man [611] 326 holding book “History” found in Gaylordsville, Litchfield Co., Conn.

Unidentified Man [614] 327

Unidentified Woman [739] 328 Unidentified Man [638] 329 holding “Wesley’s Sermons” holding bible

Mid-to-Late 1830’s: The “Kent Limner” Period – Dutchess and Putnam Co., N.Y. and unidentified

Helen Cornell Manney 330

Sarah Rogers 331 or possibly Unidentified Woman [668] 332 holding book “H. Manney”

Eveline Cornell Rogers with pink rose Poughkeepsie, Dutchess Co., N.Y. Poughkeepsie, Dutchess Co., N.Y.

Elder Luman Burtch and Esther Patrick Burtch 333

Anna Farrington Noxon 334

Dated to 1837 based on age on frame. Elder Luman Burtch officiated “by Mr. Philips 1837 Sept.” at the marriage of Ammi Phillips to Jane Ann Caulkins in 1830. La Grange, Dutchess Co., N.Y. Bangall, Town of Stanford, Dutchess Co., N.Y.

Ruth Wright Hoag 335

Archibald Campbell 336 and Elizabeth Mitchell Campbell 337 Baldwin Place, Town of Carmel, holding the New-York “Spectator” dated “June 5, 1837” Putnam Co., N.Y. Pawling, Dutchess Co., N.Y.

Mid-to-Late 1830’s: The “Kent Limner” Period – Dutchess and Putnam Co., N.Y. and unidentified (continued)

from

h

Unidentified Woman [708] 338

Unidentified Man and Woman [580 and 720] 339

Dover Plains, Dutchess Co., N.Y. holding “Minutes of the Baptist Missionary Convention”

Unidentified Woman [710] 340

Jonathan Akin Taber and Abigail Julia Ayers Taber 341 aka “Quaker Woman” parents of William Frederic Taber [p. 76], holding parsley sprig and possibly Martha Akin Taber “Report on Agriculture and Internal Improvement, New York, 1838” Pawling, Dutchess Co., N.Y

Unidentified Man [600] 342

Unidentified Man [559] 343

Unidentified Woman [747] 344

olding a pamphlet “Agriculture” holding pamphlet “Agriculture” aka Mrs. Zachariah Flagler probably Dutchess Co., N.Y.

Mid-to-Late 1830’s: The “Kent Limner” Period – Dutchess and Putnam Co., N.Y. and unidentified (continued)

Jeannette Elizabeth Woolley 345

Frances Sprague Foster and Judge Ebenezer Foster 346 sister of Sarah Woolley Haxtun [p. 77] with letter on table dated “1839” holding letter and with books “History” South East, Putnam Co., N.Y. Pleasant Valley, Dutchess Co., N.Y.

Unidentified Girl, possibly a

Augusta Maria Foster (Raymond) 347 Haxtun family member 348 Raymond family member 349 dau. of Frances and Ebenezer Foster probably Sarah E. Haxtun (possibly Frances Anne Foster) South East, Putnam Co., N.Y. sister of William E. Haxtun [p. 76] Beekman, Dutchess Co., N.Y.

Unidentified Man and Woman [595 and 682] 350

Unidentified Woman [669] 351

Circa 1838-40: The Late “Kent Limner” Period – Dutchess Co., N.Y. and unidentified

Preston Wing [586] 352

Egbert Sheldon and Phebe Ann Wing Sheldon [582 and 773] 353 brother of Phebe Ann Wing Sheldon brother-in-law and sister of Preston Wing Dover, Dutchess Co., N.Y. Dover, Dutchess Co., N.Y.

Unidentified Man and Woman [657 and 769] 354 holding newspaper

Unidentified Woman [698] 355 “…Eagle.” (probably the Poughkeepsie Eagle, published 1834-44)

Mr. Doane 356

Unidentified Man and Woman [587 and 685] 357 Dover Plains, Dutchess Co., N.Y.

Circa 1838-40: The Late “Kent Limner” Period – Westchester Co., N.Y. and unidentified

Polly Clason Brady 358

Gerard Crane and Roxanna Purdy Crane 359 (Mrs. Simeon Brady) inscribed “48 Years Old. 1839” Goldens Bridge, Westchester Co., N.Y. Somers, Westchester Co., N.Y.

George C. Sunderland 360 “Painted Rev. Ashbel Greeen 361 recorded as Rev. Walter Smith Lyon 362 When at the Age of 21 years / By / painted by Phillips July 9-14, 1840, Bedford, Westchester Co., N.Y. Mr. Ammi Phillips In the fall of 1840” and holding “Η KAINH ΔIAΘHKH” Somers, Westchester Co., N.Y. Bedford, Westchester Co., N.Y.

Unidentified Man [609] 363

Mr. and Mrs. Vail from Afton, N.Y. 364 with dog stick-pin (unconfirmed locale)

Circa 1838-40: The Late “Kent Limner” Period – Dutchess Co., N.Y., Litchfield Co., Conn. and unidentified

Unidentified Man [575] 365

Mr. Goodwin 366

Mr. Bates 367 possibly Hezkiah Goodwin possibly Rodman Bates Lime Rock, Litchfield Co., Conn. Amenia, Dutchess Co., N.Y.

Unidentified Man [576] 368

Unidentified Man and Woman [610 and 704] 369 holding pamphlet “Agriculture” holding a pamphlet “Agriculture”, and leaning on a large bible

Unidentified Man and Woman [645 and 757] 370

Unidentified Woman [760] 371 inscribed “January First 1840”

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) 372 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

holding sprig

ten

Rachel Ann Maria Overbagh Ostrander (holding handkerchief Unidentified Boy with peach and book 374 embroidered “R.A.M.O.”) and son Titus Ostrander (b. 1829) 375 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.

John

Luyster (b. 1828) 373

with

strawberries LaGrangeville, Dutchess Co., N.Y.

Late 1820’s to late 1830’s: The Children in Red Dresses (shown to relative size)

Unidentified Boy [779] 376

Unidentified Girl [786] 377 holding two strawberries fingering necklace and holding

Unidentified Child [797] 378 and mallet sprig with one strawberry holding teething ring and dog

Unidentified Child [791] 379

Unidentified Girl [787] 380

Unidentified Girl [788] 381 aka “Hannah Standish” 4-strand necklace, black shoes, 3-strand necklace, black shoes, red shoes, holding four strawberries holding cat, with dog holding parsley sprig, with dog

Unidentified Girl [796] 382

Unidentified Girl [785] 383

Unidentified Girl [793] 384 red shoes, holding flowers and cat, 2-strand necklace, red shoes, green shoes, holding parsley sprig, with drapery holding four strawberries, with dog with goldfinch, dog, table, drapery

Late 1820’s to late 1830’s: More Children in Dresses (shown to same relative size as preceding pages)

Mary Margaret Deuel (b. 1827) 385 with four strawberries, patterned floor Pine Plains, Dutchess Co., N.Y.

Henry Soggs (b. 1829) and Mary Jane Soggs (b. 1824) 386 with strawberries, on patterned floor Woodstock, Ulster Co., N.Y.

James Mairs Salisbury (b. 1834) 387 with five strawberries and dog Catskill Landing, Greene Co., N.Y.

Andrew Jackson Ten Broeck (b. 1832) 388 with hickory nut and dog inscribed “Aged 1 year & 6 months 1834” Clermont, Columbia Co., N.Y.

William Frederic Taber (b. 1836) 389

Haxtun family member with dog 390 with two strawberries and dog probably William Edward Haxtun (b. 1832) Pawling, Dutchess, Co., N.Y. Beekman, Dutchess Co., N.Y.

Late 1830’s: The Benjamin Haxtun family, Beekman, Dutchess Co., N.Y. (shown to relative size)

William Woolley Haxtun (b. 1829) 391

Almira Haxtun (1831-1841) 392 with dog and drapery with rose sprig and kitten 393 Beekman, Dutchess Co., N.Y. Beekman, Dutchess Co., N.Y. (canvas reduced, with fragment preserved)

Sarah Woolley Haxtun and Benjamin Haxtun 394, 395 parents of William Woolley Haxtun and Almira Haxtun [above] and sister and brother-in-law of Jeannette Elizabeth Woolley [p. 70] Beekman, Dutchess Co., N.Y.

Early to Mid-1840’s: The Early Daguerreotype Period – Fishkill, Dutchess Co., N.Y. and unidentified

Joseph White Phillips (b. 1835) 396

Elias Phillips and Elizabeth Northrup Phillips 397 son of Elias and Elizabeth N. Phillips parents of Joseph White Phillips Fishkill, Dutchess Co., N.Y. Fishkill, Dutchess Co., N.Y.

inscribed “Anna Van Voorhis” 398

Elizabeth Phillips Storm, daughter of Elias Phillips by his first 1844” and “Aged 82 / May 16 1844” and John Curry Storm 399 reading “Life of Clay” (published 1843) holding bible and spectacles Fishkill, Dutchess Co., N.Y. Fishkill, Dutchess Co., N.Y.

Unidentified Man [571] 400

Joseph Bogardus and Barbara Moffet Bogardus 401 with spectacles and “Holy Bible” holding newspaper “Anti-Bank Democrat” (published 1842-43) Fishkill, Dutchess Co., N.Y.

Early to Mid-1840’s: The Early Daguerreotype Period – Fishkill, Dutchess Co., N.Y. and unidentified (continued)

Isaac Simmons and Sarah Simmons 402

Harriet Simmons Hasbrook 403 parents of Harriet Simmons Hasbrook, each with name on book and holding book “H.M. Hasbrook” inscribed (verso) with with name, age, and “1843” in Phillips’s hand and inscribed ”Aged 30 1843” Fishkill, Dutchess Co., N.Y. Fishkill, Dutchess Co., N.Y.

Catherine Collins Flagler 404

Phebe Van Amburgh Hasbrook and Francis Jacob Hasbrook 405 (Mrs. Zachariah Flagler)

sister-in-law and brother-in-law of Harriet Simmons Hasbrook Beekman, Dutchess Co., N.Y. holding newspaper [New-York] “Observer” dated “1843” Fishkill, Dutchess Co., N.Y.

“Elnathan Haxtun Aged 49 Ye’s” 406 Tunis Cooper and Maria Budd Cooper 407 with “Wirt’s Life of P. Henry” Fishkill, Dutchess Co., N.Y. Beekman, Dutchess Co., N.Y.

Early to Mid-1840’s: The Early Daguerreotype Period – Sharon, Litchfield Co., Conn and unidentified

Unidentified Man [620] 408

Ira Williams and Melissa Calkins Williams 409 with Methodist Hymnal co-founder, with brothers, of Sharon Methodist congregation (possible brother of Ira Williams) Sharon, Litchfield Co., Conn.

Hon. John Cotton Smith (d. 1845) 410

Phebe Doud Gay and Calvin Gay (d. 1848) 411 and 412 former Governor of Conn. (1812-17) with “Dwight’s Sermons” (published New Haven: 1828) Sharon, Litchfield Co., Conn. Sharon, Litchfield Co., Conn

Unidentified Woman [696] 413

Sarah (Sally) Totten Sutherland 414

Unidentified Woman [729] 415 (one of four copies) holding “Religion of the Heart Amenia, Dutchess Co., N.Y. and Life” (pub. Hartford: 1840)

Mid-1840’s: The Daguerreotype Period – Dutchess Co., N.Y. and unidentified

Thomas Parker 416

Charles Brown and Elizabeth Marshall Brown 417 Hyde Park or Pleasant Valley, holding newspaper “Telegraph” dated “August 13, 1845” Dutchess Co., N.Y. Salt Point, Town of Pleasant Valley, Dutchess Co., N.Y.

Catherine De C. Stoutenburgh 418

Tobias Isaac Stoutenburgh and Maria Albertson Stoutenburgh 419 sister of Tobias Isaac Stoutenburgh holding newspaper “Baptist Advocate” dated “September 9, 1845” Hyde Park, Dutchess Co., N.Y. Pleasant Valley, Dutchess Co., N.Y.

Unidentified Woman [745] 420

Unidentified Man and Woman [650 and 707] 421 possibly of the Stoutenburgh family holding newspaper “Christian Advocate” dated “October 24, 1845”

Mid-1840’s: The Daguerreotype Period – Dutchess Co., N.Y. and unidentified (continued)

Deacon Benjamin Benedict 422 Mr. and Mrs. Keese 423 with music book and holding bible with tinted spectacles and bible (possibly John Mumford Keese and Cornelia Hoffman Keese North East, Dutchess Co., N.Y. Pleasant Valley, Dutchess Co., N.Y.)

“Rachel Divine. Aged 60. 1846.” 424

Unidentified Man and Woman 425 highlighting Psalm XXXVII frame inscribed “J. Ransom, DD, Poughkeepsie” and holding herb sprig Pleasant Valley, Dutchess Co., N.Y. Dutchess Co., N.Y.

“Julia Anna Stone Morehouse” 426 Col. Henry Rundall and Nancy Totten Sutherland Rundall 427 inscribed “2-22-43” inscribed “1847 Aged 48” and “Nancy T. Rundall Aged 44 1847” Amenia, Dutchess C o., N.Y. Amenia, Dutchess Co., N.Y.

Mid-to-Late 1840’s: The Daguerreotype Period – Litchfield Co., Conn. and unidentified

Rebecca Beebe Rockwell 428

Judge Miles Tobey Granger and Caroline S. Ferguson Granger 429 Colebrook, Litchfield Co., Conn. holding "Statutes of Connecticut" (published Hartford: 1844) Canaan, Litchfield Co., Conn.

Theron Bronson and Maria Rachel Munsill Bronson 430

Margaret Phelps Higley (d. 1850) 431 parents of Edward Hiram and Henry Theron Bronson [p. 89] Falls Village, Litchfield Co., Conn. Winchester, Litchfield Co., Conn (cf. Maria Rachel Munsill Bronson and Wilbur Bronson, p. 88)

Unidentified Woman [703] 432

Unidentified Man and Woman [568 and 676] 433

Mid-to-Late 1840’s: The Daguerreotype Period – Litchfield Co., Conn. and unidentified (continued)

Sarah J. Kinney 434 daughter Nisus Kinney 435 (Ammi Phillips’s cousin) and Sarah Wakefield Kinney 436 of Nisus and Sarah W. Kinney parents of Sarah J., Jane E. [p. 88] and Susan W. Kinney [p. 88] Winsted, Litchfield Co., Conn. holding “Hartford Times” dated “June 24, 1848” Winsted, Litchfield Co., Conn.

(possibly) Sen. John Henry Hubbard and Julia Ann Dodge Hubbard 437 Lucius Culver 438 son-in-law of holding newspaper “Hartford” dated “April 21, 1849”

Nisus Kinney, married in 1851 Salisbury, Litchfield Co., Conn. at the home of Ammi Phillips

Unidentified Woman [732] 439

Theron Daniel Ludington and Eleanor Bailey Ludington 440 holding thistle Goshen, Litchfield Co., Conn.

Circa 1850: The Daguerreotype Period – Litchfield Co., Conn. and unidentified

Augustus Miles and Roxa Norton Miles 441 holding newspaper “Tribune” dated “June 24, 1850” Goshen, Litchfield, Conn.

Mr. and Mrs. Seymour of Connecticut 442 holding newspaper “Tribune” dated “August 27, 1850” (uncertain locale)

Milo Bartholomew and Milia Holbrook Bartholomew 443 holding “The Cultivator” dated “October 5, 1850” and holding an unfolded envelope with four locks of hair. Goshen, Litchfield Co., Conn.

Circa 1850: The Daguerreotype Period – Litchfield Co., Conn. and unidentified (continued)

William Miles 444

Unidentified Man 445

Unidentified Woman [666] 446 Goshen or Salisbury, likely a Miles family member Litchfield Co., Conn. Litchfield Co., Conn.

Dr. Ovid Plumb and Abiah Lawrence Plumb 447

Unidentified Woman [702] 448 with pear blossoms, brass microscope and “Gray’s Bottany” [sic] Salisbury, Litchfield, Conn.

Mr. and Mrs. James Reed 449

Unidentified Woman [738] 450 (possibly Mr. and Mrs. Dewitt Clinton Dakin, Sr.) North East, Dutchess Co., N.Y.

Circa 1853: The Daguerreotype Period – The Hotchkiss family, Torrington, Litchfield Co., Conn.

Dyer Hotchkiss 451 father of Charles Hotchkiss Torrington, Litchfield Co., Conn.

Charles Hotchkiss and Electa Susannah Brace Hotchkiss 452 holding the “Advent [Herald]” (published as depicted, 1848-56) parents of Edward C., Lucia E. and Henry E. Hotchkiss Torrington, Litchfield Co., Conn.

Edward C. Hotchkiss (b. 1833) 453

Lucia E. Hotchkiss (b. 1835) 454

Henry E. Hotchkiss (b. 1841) 455 Torrington, Litchfield Co., Conn. Torrington, Litchfield Co., Conn. Torrington, Litchfield Co., Conn.

Circa 1848-53: The Litchfield Children and related portraits with Paisley shawls (shown to relative size)

Susan W. Kinney (b. 1842) 456 sister of Jane E. Kinney Winsted, Litchfield Co., Conn. (canvas reduced)

Maria Rachel Munsill Bronson

Emily Miner Palmer Fox 457 and son Wilbur Bronson (b. 1848) 458 Goshen, Litchfield Co., Conn. Winchester, Litchfield Co., Conn.

Jane E. Kinney 459

Unidentified Man and Woman [569 and 701] 460 sister of Susan W. Kinney holding Winslow’s Merchant’s and Mechanic’s Guide (pub. 1851) Winsted, Litchfield Co., Conn.

Leonard Richardson and Lucy Anne Barnum Richardson 461

Milo Barnum Richardson (b. 1849) 462 holding annual report “Directors of the Housatonic Railroad Company” son of Leonard and Lucy Richardson Lime Rock, Litchfield Co., Conn. Lime Rock, Litchfield Co., Conn

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) 463 sons of Theron Bronson [p. 83] and Maria Rachel Munsill Bronson [pp. 83, 88] holding “Picture Multiplier” (published 1843-47) Winchester, Litchfield Co., Conn.

Virginia Ludington (b. 1846)

Unidentified Children [783] 464 and Theron Simpson Ludington (b. 1850) 465 and their cat Goshen, Litchfield Co., Conn.

Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass. and unidentified

Unidentified Man (holding book on agriculture) and Woman 466

Nathan Gaylord Benjamin 467 Possibly Hiram Bartholomew and Betsy Barnum Bartholomew holding “Henry’s Commentary, of Sheffield, Berkshire Co., Mass. Vol. I Gen-Sam” (as pub. 1856) Egremont, Berkshire Co., Mass.

Unidentified Man and Woman [598 and 677] 468

Unidentified Woman [690] 469

Henry W. Langdon 470 with “History of Unidentified Man and Woman [584 and 686] 471 holding “The Western Massachusetts” (pub. 1855) Prince of David” (pub. 1855) and embroidered handkerchief Monterey, Berkshire Co., Mass.

Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass. and unidentified (continued)

Unidentified Man [583] 472

Dr. Clarkson T. Collins and Lydia Coffin Collins 473 holding literary weekly “[True] Flag” with “Wood’s Practice of Medicine” (published 1847-67) (published Boston, 1851-1908) Great Barrington, Berkshire Co., Mass. from a Sheffield, Mass. family

Dr. Joseph Priestly Dorr 474

Henry Sisson and Lucy Amanda Howe Sisson 475 also painted as a child [p. 20] New Marlborough, Berkshire Co., Mass. Hillsdale, Columbia Co., N.Y. (three miles from Berkshire Co., Mass.)

Unidentified Woman [775] 476

Unidentified Woman [759] 477

Unidentified Woman [678] 478 with mourning ribbons with mourning ribbons with mourning ribbons (three women suggested by B. Holdridge (1968) as being likely sisters and probably from Berkshire, Co., Mass.)

Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass. and unidentified (continued)

holding

Unidentified Man

Whiston’s “Complete Works of with “Holy Bible” Flavius

Unidentified Man [561] 482 with

Mr. Cooper

“Dunglison’s Human Physiology” with book “History” with book “History of the U.S.” (published 1832 to 1856) (unknown locale)

Unidentified Man [601] 479

Unidentified Man [574] 480

[617] 481

Josephus” (1851 ed.)

Unidentified Man [599] 483

484

Unidentified Man [648] 485

Unidentified Man [656] 486

Unidentified Man [820] 487 holding a glove holding a glove

Circa 1850’s: The Daguerreotype Period – Berkshire Co., Mass and unidentified (continued)

Ebenezer Chadwick 488

Asa Beckwith 489

Unidentified Man [560] 490 with New Marlborough or Great with book “History” “Watson’s Practice of Medicine” Barrington, Berkshire Co., Mass (unknown locale) found in Berkshire Co., Mass.

Unidentified Boy [658] 491

Unidentified Man [634] 492

Unidentified Man [660] 493 holding “Ballou’s Pictorial” as holding newspaper “Spectator” with book “History” issued January to June 1855 dated “March 19, 1855”

Unidentified Man [564] 494

Lorrin Smith and Eliza Smith 495 New Marlborough, Berkshire Co., Mass.

Circa 1857: The Late Period – West Stockbridge, Berkshire Co., Mass

Elisha Barnes 496

Thomas Williams Barnes and Zilpha Arnold Barnes 497 holding father of Thomas Williams Barnes newspaper “New York” dated “July 3, 1857” and white flower, West Stockbridge, Berkshire Co., Mass. with “Mysteries of Bee-Keeping Explained” (pub. 1853) West Stockbridge, Berkshire Co., Mass.

Caroline H. Williams Barnes 498

Perry Green Comstock and Elizabeth M. Comstock 499 daughter-in-law of Elisha Barnes holding newspaper “Argus” dated “July 30, 1857” holding sprig with rosebuds West Stockbridge, Berkshire Co., Mass. West Stockbridge, Berkshire Co., Mass.

Mrs. Lyman 500

Ethan Allen Van Deusen and Clymena Tobey Van Deusen 501 West Stockbridge, Berkshire Co., Mass. holding newspaper “New York” dated “August 17, 1857” West Stockbridge, Berkshire Co., Mass.

Circa 1860: The Late Period – Stockbridge, Berkshire Co., Mass. vicinity and unidentified

Henry Sedgwick 502

Unidentified Man [633] 503 with Sarah King Dewey Lenox, Berkshire Co., Mass. “Agriculture” dated “Nov. 30, 1860” (Mrs. Charles Asaph Dewey) and possibly Charles Asaph Dewey Harriet Maria Dewey (b. 1859) 504 New Lenox, Berkshire Co., Mass. New Lenox, Berkshire Co., Mass.

Chauncey Erastus Dewey and Caroline Bailey Dewey 505 parents

Unidentified Woman [765] 506 of Duane Bailey Dewey [p. 97], with quill pen, “Ledger / 1860” and volume “H.R.R.” [Housatonic Rail Road] New Lenox, Berkshire Co., Mass.

Thomas Carter 507

Anna Benedict Smith 508 and Enos Smith (d. 1857) 509 dau.-in-law grandfather of Carter children [p. 96] and son of Gideon Smith [p. 16] who was painted by Phillips in 1811 Stockbridge, Berkshire Co., Mass Stockbridge, Berkshire Co., Mass.

Circa 1860: The Late Period – Stockbridge, Berkshire Co., Mass. vicinity and unidentified (continued)

Edward Church Carter 510

Anna Electa Carter (b. 1845), Mary Adele Carter (b. 1856), uncle of the three Carter children [right] and John Calvin Calhoun Carter (b. 1846) 511 and Florence Maria Carter [below] holding goldfinch, flower, and strawberries Stockbridge, Berkshire Co., Mass. recorded as painted 1860 in Stockbridge, Berkshire Co., Mass.

Unidentified Girl 512

Emily Armeda Roberts (b. 1839) 513

Edward Harmon Langdon 514 aka “Mary O’Connel” from an early (later Mrs. Emily Cooper of Lee) painted posthumously (d. 1855) collection in Berkshire Co., Mass. Stockbridge, Berkshire Co., Mass. Monterey, Berkshire Co., Mass.

Unidentified Boy [794] 515

Florence Maria Carter 516 (b. 1859) Unidentified Boy [782] 517 seated in armchair, with bell, with apple, sock, and holding shoe seated in armchair, with mallet peach, and mallet Stockbridge, Berkshire Co., Mass. (in octagonal frame)

Circa 1860: The Late Period (continued) – shown to relative size

Unidentified Woman and Boy [711] 518

Unidentified Boy [795] 519 with dog

Unidentified Woman [718] with long curls (cf. George W. Beckwith, p. 98) (canvas reduced) 520

Unidentified Boy [780] 521

Unidentified Boy [778] 522 with long curls, hat and large dog with long curls, hat and dog

Unidentified Child [790] 523

Duane Bailey Dewey (b. 1858) 524 in blue dress with large dog New Lenox, Berkshire Co., Mass.

Circa 1862: The Late Period – Stanford, Dutchess Co., N.Y.

These are the last dated portraits by Ammi Phillips

Elizabeth Harris Husted 525 “Taken George W. Beckwith and dog 526 “Wm. H. Stewart Age 57 by A. Phillips / June 20th 1862” son of Col. Nathan S. Beckwith Painted by A. Phillips 1862” niece of Polly Smith Husted [p. 34] and Elizabeth Gale Beckwith [p. 33] Stanford, Dutchess Co., N.Y. Stanford, Dutchess Co., N.Y. Stanford, Dutchess Co., N.Y.

Boy of the Overbagh family, probably Ulster Co., N.Y. 527

Eleanor Ward Humphrey 528 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 529

William Cockburn 530 Albany, N.Y., circa 1818

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)

by Reuben Moulthrop (1763-1814) (cf. Gen David Robinson, p. 26)

Rev. Ammi Ruhamah Robbins, Norwalk, Litchfield Co., Conn., 1812 531

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 A sheriff’s notice cites him as a debtor in Rhinebeck in May 1831. 19 Unclaimed letters at the Rhinebeck post office in January 1835, and in April and October 1836, indicate his extended absence at those dates 20 He is mentioned as a portrait painter residing in Poughkeepsie, Dutchess Co., N.Y. in August 1836. 21

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). 22

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). 23 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.” 24 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. 25 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 New-York Evening Post [New York, N.Y.], No. 8970 (May 14, 1831): p. 3. “Notice is hereby given to Ammi Philips [sic], now or late of the town of Rhinebeck… all estate, real and personal within the county of Dutchess, belonging to said Ammi Philips, to be seized; and… the said estate sold for the payment of his debts.”

20 Poughkeepsie Journal [Poughkeepsie, N.Y.], Vol. 50, No. 2583 (January 21, 1835): p. 4; Vol. 51, No. 2646 (April 6, 1836): p. 3; and Vol. 52, No. 2674 (October 19, 1836): p. 4.

21 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.

22 Holdridge (1968) pp. 43-44

23 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.

24 The Berkshire County Eagle [Pittsfield, Mass.], Vol. XXXVIL, No. 4 (August 10, 1865): p. 3.

25 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. 26 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. 27 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 28, 29 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. 30

26 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.”

27 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]

28 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.

29 Elinor B. Robinson, “American Primitive Paintings.” The Magazine Antiques, Vol. XIX, No. 1, Jan. 1931, pp. 3336.

30 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.” 31

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. 32 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. 33 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. 34, 35 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. 36

31 Perry Townsend Rathbone, Itinerant Portraiture in New York and New England, 1820-1840. March 1933. Harvard U., M.A. thesis (unpublished).

32 Jean Lipman, "I. J. H. Bradley, Portrait Painter," Art in America, Vol. 33, No. 3 (July 1945): pp. 154-166.

33 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).

34 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

35 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.

36 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.

1957: New-York Historical Society – “Ammi Phillips (1787/88-1865), portrait painter”

Also in 1957, the New-York Historical Society published an index of early American artists which included “Ammi Phillips (1787/88-1865)” as a native of Berkshire Co., Mass. who had lived for some time in Dutchess Co., N.Y and was known to have painted portraits in Troy [Rensselaer Co.] and Claverack [Columbia Co.], N.Y. 37 A separate index entry for “Phillips” cited the aforementioned Ten Broeck Genealogy and WPA (Mass.): Portraits Found in New York, and suggested that this may be Ammi Phillips. 38 A third entry under “Philips” cited the 1837 portrait of Anna Noxon [p. 68] and also referenced the Ammi Phillips entry. 39

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. 40

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. 41 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. 42

37 George C. Groce and David H. Wallace, New-York Historical Society's Dictionary of Artists in America 15641860 (New Haven: Yale UP, 1957) p. 504, citing information courtesy Ralph D. Phillips

38 Groce and Wallace, p. 504, citing Runk [op cit.] and Massachusetts Historical Records Survey: Preliminary catalogue of American portraits found in New York (Boston: [WPA], c. 1942).

39 Groce and Wallace, p. 504, citing Sherman [op cit.].

40 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.

41 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.

42 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.

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. 43 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.” 44 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.

1958 to 1965: Barbara (Cohen) Holdridge and Lawrence B. Holdridge “Ammi Phillips, limner extraordinary”

The largely unheralded name of “Ammi Phillips” was first associated with his greater 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. 45 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] The Ammi Phillips reference in the recently published artists index (see p. 109) prompted the Holdridges to contact genealogical researcher Ralph D. Phillips, whose information had been culled two decades earlier. 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.” 46 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. 47 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.

43 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.

44 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.

45 Barbara Cohen and Larry Holdridge, "Found: A Berkshire Old Master," The Berkshire Eagle, Vol. 68, No. 100 (August 29, 1959): p. 10A.

46 “Historical Data of Interlaken A Library Feature in February,” The Berkshire Evening Eagle, Vol. 60, No. 187 (January 22, 1952): p. 14.

47 Mary Black, "The Search for Ammi Phillips," ARTnews, Vol. 75, No. 4 (April 1976): pp. 86-89.

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. 48, 49 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 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. 50

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. 51 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. 52 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. 53

48 Barbara and Larry Holdridge, "Ammi Phillips," Art in America, Vol. 48, No. 2 (Summer 1960): pp. 98-103.

49 Barbara and Larry Holdridge, "Ammi Phillips, limner extraordinary," Antiques, Vol. LXXXI, No. 6 (December 1961): pp. 558-563.

50 Barbara and Lawrence B. Holdridge, "Ammi Phillips, 1788-1865," The Connecticut Historical Society Bulletin, Vol. 30, No. 4 (October 1965): pp. 97-146.

51 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)

52 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.

53 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 Unidentified Man: private collection

11 Mr. and Mrs. Folsom: Christie’s, 5148.260

12 Dr. Nicholas Brown Harris: private collection

13 Joseph Heath and Mabel Rising Heath: Washington County Historian’s Office, Fort Edward, N.Y.

14 Moses Cowan: Architectural Digest (June 2003)

15 Harriet Betts Hall and Dr. Philander Hall: Northeast Auctions (11/1993), 677

16 Unidentified Man, Amelia Jeffers, 2025.7.25.17

17 Sara Cornwall Everest and Dr. Isaac Everest: private collection

18 Mrs. Goodrich & child: Berkshire Museum, 37.63

19 Mr. Goodrich: The Art Museum, Princeton University, y1958-65

20 Unidentified Woman: Christie’s, 2468.54

21 Unidentified Man: Skinner, Inc., 3278M.525

22 Polsapianna Bull Dorr, Esther Maria Dorr and Dr. Russell Dorr: Abby Aldrich Rockefeller Folk Art Museum, 58.100.15 and 58.100.16

23 Paulina Dorr: Abby Aldrich Rockefeller Folk Art Museum, 79.100.7

24 Henrietta Dorr: The Art Museum, Princeton University, y1958-66

25 Catherine Van Slyck Dorr: Hollander (2009), see bibliography [private collection]

26 Joseph Priestly Dorr: Abby Aldrich Rockefeller Folk Art Museum, 79.100.8

27 Robert Lottridge Dorr: Abby Aldrich Rockefeller Folk Art Museum, 58.100.8

28 Russell Griffin Dorr: Abby Aldrich Rockefeller Folk Art Museum, R58.100.25

29 John Haynes: Hirschl & Adler Galleries, Inc.

30 Phebe Haynes: Hirschl & Adler Galleries, Inc.

31 Rebecca Rouse Eddy and Jonathan Eddy: private collection

32 Wilbur Sherman and Sarah Stearns Sherman & daughter: Yale University Art Gallery, 2008.198.1 and 2008.198.2

33 Caleb Sherman: Yale University Art Gallery, 2008.198.3

34 Unidentified Woman: Olde Hope Antiques

35 Johan Georg Fake, Jr. and Catherine Sneider Fake: Antiques, 2004 [Hirschl & Adler Galleries, Inc.]

36 Unidentified Woman, Christie’s, 23266.523

37 Alsa Sherman Slade and Joseph Slade: National Gallery of Art, 1955.5.53 and 1955.5.52

38 Sarah Bull Dorr or Amy Chase Bull: Tinker Swiss Cottage Museum, Rockford, Ill.

39 Mary Eddy Spicer and Cyrus Spicer: Christie’s, 9052.320

40 Milton Dorr: Antiques & Fine Art [Katcher Collection]

41 Sarah Bull Dorr and Col. Joseph Dorr: Historic New England, 1992.168 and 1992.167

42 Milton Dorr: Tinker Swiss Cottage Museum, Rockford, Ill.

43 Mrs. Crane and Dr. Crane: Newark Museum, 2001.69.2 and 2001.69.1

44 Unidentified Man and Woman: private collection

45 Philip Slade: Metropolitan Museum of Art, 64.309.3

46 Unidentified Woman (possibly Mrs. Phillip Slade): Sotheby’s, 7521.38

47 Napoleon Bonaparte Buell: Copake Auction, 2007.1.1.110

48 M.A. Barker: Washburn Gallery (Antiques, December 1978)

49 Harriet Campbell: Clark Art Institute, 1991.8

50 Harriet Leavens: Fogg Art Museum, Harvard University, 1945.27

51 Jerusha Rogers: Northeast Auctions (8/2014), 299

52 Mary Elizabeth Gale: Washburn Gallery, 1976 [Barnaba-Rolf Photography]

53 Frederick A. Gale: American Folk Art Museum [J. David Bohl]

54 Nancy Caldwell Church Robinson and Gen. David Robinson: Sotheby’s, 4911M.12

55 Rev. Jonas Coe: Museum of Fine Arts, Boston, 1997.195

56 Sally Morgan Walbridge: Christie’s, 1129.144

57 James Van Schoonhoven: Sotheby’s, 5736.283

58 Jane Daney Smith: Museum of Fine Arts, Boston, 1983.164

59 Ruth Haynes Palmer: Christie’s, 22325.365

60 Nancy Smith Lamphear: Sotheby’s, N10303.1075

61 Amy Lottridge Davis and Ann Jane Davis: private collection

62 Unidentified Woman: Sotheby’s, N09805.983

63 Rhoda Goodrich Bentley and Louisa H. Bentley: Sotheby’s, N09805.877

64 William Northrup Bentley: David A. Schorsch & Eileen M. Smiles, Woodbury, Conn.

65 Betsy Brownell Gilbert: The Huntington Library, L2015.41.163.

66 Harriet Hill: private collection [HPF]

67 Catherine Couenhoven Clark: The Clark Art Institute (2017)

68 Unidentified Woman and Man: Sotheby’s, 6957.1643

69 Unidentified Woman (aka Jane A. Fort Van Rensselaer): Abby Aldrich Rockefeller Art Museum, 58.100.36

70 Judge James Vanderpoel and Anna Doll Vanderpoel: Albany Institute of History and Art, 1958.30.1 and 1958.30.2

71 Unidentified Man: Christie’s, 1959.727

72 Unidentified Woman: Christie’s, 13791.633

73 Bithiah Soullard Haskell and John Haskell: Hirschl & Adler Galleries, Inc.

74 Gertrude Snyder Harder and William G. Harder: Abby Aldrich Rockefeller Folk Art Museum, 58.100.29 and 58.100.28

75 Jonathan Lane: Northeast Auctions, 2015.659

76 Catherine Douw Hoffman Philip and Col. Henry G. Philip: Connecticut Historical Society (1965), see bibliography

77 Dr. Thomas Brodhead: R.H. Blackburn & Assoc., Kinderhook, N.Y.

78 Samuel Robert Campbell and Sarah Mynderse Campbell: private collection

79 Unidentified Man: Shelburne Museum, 1955-512.3

80 Rev. John Gabriel Gebhard and Anna Maria Magdalene Carver Gebhard: Frick Art Reference Library (gift of John G. Gebhard III)

81 Dr. John A. McClellan: Northeast Auctions, 2015.833

82 Lydia Schureman Sluyter and Rev. Richard Sluyter: Northeast Auctions, 1989.654

83 Dr. Asa Jordan: D.L. Straight Auctions, 2022

84 Philip Titus Heartt: Olde Hope Antiques

85 Unidentified Boy: private collection

86 Jane Ann Campbell: private collection

87 Jonas Coe Heartt: Clars Auction Gallery, 2016.2211

88 Unidentified Girl: Amon Carter Museum, 1967.199

89 Mary Ann Steenback Gale: Antiques & Fine Art (2006)

90 Boy of the Cook Family: private collection

91 Unidentified Man: Sotheby’s, N08665.49

92 George Edward Selby: Joan R. Brownstein

93 Eliza DuBois: Antique Associates at West Townsend

94 Hannah Cooper du Bois: The American Museum in Britain

95 Garret du Bois: Pook & Pook, 2006.44

96 Mary Thorn Du Bois and Coert Du Bois: Sotheby’s, N08728.462

97 Charles Louis du Bois: Peter Tillou (Antiques, January 1976)

98 John A. Sleight: Frick Art Reference Library [Ira W. Martin]

99 Ruth Roe Sleight and Abraham Sleight: Currier Museum of Art, 1982.27.2 and 1982.27.1

100 Fyler Dibblee (possibly): Christie’s, 2095.546

101 Tobias Teller and Caroline Sammis Teller: Copake Auction, 2007.1.1.100

102 Col. Nathan S. Beckwith and Elizabeth “Betsey” Gale Beckwith: Brooklyn Museum of Art, 79.133.2 and 79.133.1

103 Unidentified Man: Skinner, Inc., 2669.90

104 Charlotte H. Newcomb Benedict and Dr. Abijah Gilbert Benedict, Springfield Museum of Art, 2000.020 and 2000.019

105 Lois Atherton Allerton: Art Institute of Chicago, 1946.395

106 Dr. Cornelius Allerton: Art Institute of Chicago, 1946.394

107 Polly Smith Husted: Sotheby’s, N07095.759

108 Bonhams: Unidentified Woman (Lois Atherton Allerton), 22282.4094

109 Lois Hamlin and David Hamlin: Bonhams & Butterfields

110 Unidentified Man and Woman: Northeast Auctions, 2009.429

111 Rhoda Bennett Couch: Skinner, Inc., 2509.833

112 Phoebe Lewis Smith and Judge Isaac Smith: Christie’s, 1247.90

113 Unidentified Man and Woman: Robert C. Eldred & Co., 2018.1035

114 William Schuneman and Elizabeth De Meyer Schuneman: Christie’s, 2200.49

115 John Kenyon (possibly): Northeast Auctions, 2007.661

116 Clarine Peck Van Bergen (possibly): Albany Institute of History and Art

117 Louisa Heyer Jackson: Frick Art Reference Library [Ira W. Martin]

118 Anna Shuler Cady: Frick Art Reference Library [Ira W. Martin]

119 Rev. Winslow Paige and Clarissa Keyes Paige: Frick Art Reference Library [Ira W. Martin]

120 William Cockburn: Frick Art Reference Library, 16721 [Pennington Studio, Kingston, N.Y.]

121 Maria Van Leuven Overbagh and Rev. Peter Abraham Overbagh: Antiques (March 1987)

122 Unidentified Woman: Christie’s, 8238.29

123 Blandina Margaret Oliver: Frick Art Reference Library, 16720 [Pennington Studio, Kingston, N.Y.]

124 Maria Oliver Hardenburgh and Jacobus Hardenburgh: Christie’s, 7000.429

125 Dr. Abraham Ten Eyck De Witt: Rufus King Museum

126 Rev. Thomas De Witt: Frick Art Reference Library [Ira W. Martin]

127 Leah Dubois Wynkoop De Witt: Historic Huguenot Street

128 Unidentified Man: University of Michigan Museum of Art, 2002/1.99

129 Ten Eyck De Witt: Frick Art Reference Library

130 John Ten Eyck: Frick Art Reference Library

131 Anna Eltinge Wynkoop and Derrick Wynkoop: Sotheby’s, N08053.922

132 Blandina Ten Eyck: Hollander (1994), see bibliography

133 Unidentified Man and Woman of the Van Keuren family: The Huntington, 2016.25.107 and 2016.25.106

134 Member of the Newkirk Family: Hudson River Antiques, Highland, N.Y.

135 Philip Bevier Hasbrouck and Esther Bevier Hasbrouck: Historic Huguenot Street/ Locust Lawn Estate [David Stansbury]

136 Ann DeWitt Bevier: Bevier (1916), see bibliography

137 Jane Bevier Deyo: Doyle New York (2015), 8 [Sotheby Parke Bernet, 4316.859]

138 Levi Decker Hasbrouck and Hylah Bevier Hasbrouck: Historic Huguenot Street / Locust Lawn Estate [David Stansbury]

139 Aaltje Swartwout Sleight: Holdridge (1968), see bibliography

140 Anna Seward Swartwout: Yost Conservation LLC, Oxford, Conn. (2018)

141 Unidentified Man: Christie’s, 2533.258

142 Sarah Maria DuBois (Easton) or Jane Hasbrouck (Hasbrouck): Historic Huguenot Street

143 Maria Eliza Hasbrouck (Reeve): Brownstein and Terkowitz (2007), see bibliography [Michael Gold]

144 Kate Elting (Crispell): Brownstein and Terkowitz (2007), see bibliography [Thomas Eaton]

145 Elizabeth Smith Hunter and David Hunter: Hirschl & Adler Galleries, Inc.

146 Catharina Van Keuren (Dubois): Minneapolis Institute of Arts, 2009 exhibit catalog

147 Ann Eliza Sloan Dorrance and Dr. Benjamin Brewster Dorrance: Sotheby’s, 5429.473

148 Letitia Sloane (Chapman): Sotheby’s, N10303.1106

149 Daniel Bull: Sotheby’s, 7521.30

150 Hannah Bull Thompson: The Huntington Library, 83.8.38

151 Alexander Thompson II: Cheekwood Botanical Garden & Museum of Art, 86.16.12

152 Robert R. Thompson and Sarah McCurdy Thompson: Christie’s, 7294.66

153 Luther Halsey: Monmouth County Historical Association

154 Samuel Sloane: Sotheby’s, N10303.1106

155 Unidentified Man and Woman: Sotheby’s, 6866.574

156 Peleg Pelton: New York Historical Society, 1984.70

157 James Ketcham: Cordier Antiques & Fine Art (5/2008)

158 Alsop Vail: Christie’s, 8238.17

159 Pauline Darling Denton and Samuel Denton: Olde Hope Antiques

160 Unidentified Man: Christie’s, 2095.630

161 Unidentified Man: Sotheby’s, 5680.1562

162 Unidentified Man and Woman: Heritage Auctions, 8058.67065

163 Unidentified Woman: Metropolitan Museum of Art, L1992.16.3

164 Dr. Gabriel Norton Phillips and Elizabeth Payne Phillips: University of California Berkeley Art Museum

165 Cicero Hinds: Sotheby’s (5/2005), 120

166 Unidentified Man: Sotheby Parke Bernet, Inc., 3978.8

167 Unidentified Woman: David Wheatcroft [David Stansbury]

168 Unidentified Man: private collection

169 Esther Cummins Fisk: Frick Art Reference Library

170 Rev. Ezra Fisk: Cordier Auctions (5/2008)

171 Unidentified Man: Sotheby’s, 5551.1103

172 Unidentified Man: Sotheby’s, N07905.765

173 Unidentified Man: Allen Memorial Art Museum, Oberlin College, 2009.12

174 Unidentified Man: Sotheby’s, 5429.486

175 Dr. Seth Capron and Eunice Mann Capron: Catalog of American Portraits (private collection)

176 Mr. & Mrs. John Lawrence: Spencer Museum of Art, University of Kansas, 0000.0202 and 0000.0201

177 Ester Stakley or Betsy Sutherland: Kuehnert’s Auction Gallery (2007), 1014

178 Unidentified Woman: Davis Museum and Cultural Center, Wellesley College, 2007.70

179 Frances Seybolt Vail: Christie’s, 8238.17

180 Anne Stoddard Pelton: New York Historical Association [Annual Report, 1983-1984]

181 Unidentified Woman: Christie’s, 8238.28

182 Catharine Helen Miller Bull: Antiques (January 1971)

183 Unidentified Woman: Galerie St. Etienne

184 Ruth Wolsey Griffin: Frick Art Reference Library [Thurman Rotan]

185 Elizabeth Du Bois Bailey, Skinner, Inc., 3278M.756

186 Abigail Greelé Eliot: Frick Art Reference Library (gift of Eliot Rowlands)

187 Col. William Shultz Little and Betsey Ketcham Little: Newark Museum of Art, 84.564

188 Mrs. Andrew Thompson: Hudson River Valley Institute

189 Unidentified Woman and Man: Godel & Co., New York, N.Y.

190 Unidentified Woman: National Gallery of Art, 1959.11.9

191 Unidentified Woman: Sotheby’s, 5551.1038

192 Dr. Charles Winfield and Margaret Crawford Winfield: Sotheby’s, 6483.29

193 Unidentified Man: Doyle New York (2015), 10

194 Unidentified Man and Woman (aka Mr. and Mrs. Warburton): Philadelphia Museum of Art, 73-258-1 and 73-258-2

195 Dr. David Reeve Arnell: Stair Galleries, 2014.565

196 Dr. John T. Jansen and Clarissa LeFevre Dolson Jansen: Emily Esser photo (2025)

197 Henry Cuddeback and Esther Gumaer Cuddeback: Estate of Mind Auctions (2021)

198 Unidentified Woman: Brunk Auctions (2023), 944

199 Samuel Callender Howell and Sally Jane Beakes Howell: Sotheby’s, 6075.101

200 Col. James Smith and Fanny Waterbury Smith: William Doyle Galleries (1982)

201 Stacy Beakes, Jr. and Mary Smith Beakes: Historical Society of Middletown and Wallkill Pct. [author photos]

202 Unidentified Child: National Gallery of Art, 1953.5.59

203 Mary Elizabeth Smith: Terra Foundation for American Art, 1992.56

204 Unidentified Woman and Child: New York State Historical Association, N-267-61

205 Leonard Allis: Sotheby’s, 7253.275

206 William Wheeler and Eleanor Knox Wheeler: private collection

207 Catherine A. May (Stimson): National Gallery of Art, 1978.80.16

208 Charles Augustus Marvine: Main Street Museum, White River Junction, Vt. [2017]

209 Malina Wheeler Knapp: Deposit Historical Society

210 Unidentified Man: Abby Aldrich Rockefeller Folk Art Museum, 58.100.42

211 Unidentified Man: private collection

212 Unidentified Woman: Frick Art Reference Library (gift of Harry Shaw Newman Gallery)

213 Ebenezer Punderson: Lawrence Steigrad Fine Arts, New York, N.Y.

214 Palmer Cook and Mary Halsley Cook: Concept Art Gallery, Pittsburgh, Pa.

215 Samuel Deuel: Neal Auction (11/2009), 14

216 Clarissa Benton Hunt and Joseph Drake Hunt: Wilderstein Preservation, Rhinebeck, N.Y.

217 Unidentified Man and Woman: Sotheby Parke Bernet, Inc., 3572.28

218 Margaret Platt Bockee: Butterscotch Auction Gallery (2018)

219 Mary Christopher Van Doorn Couch and Dr. John Whitfield Couch: Hirschl & Adler (1988), see bibliography

220 Unidentified Woman: Christie’s, 9686.524 / H.L. Chalfant

221 Philo Reed and Abigail Reynolds Reed: Stair Galleries (2009), 186

222 Mariah Durkee Soggs: Christie’s, 6400.83

223 Dr. Elmore Everitt, M.D.: Shelburne Museum, 1961-1.84

224 George Greenwood Reynolds and Abigail Penoyer Reynolds: San Diego Museum of Art

225 Robert Hoag and Phebe Pugsley Hoag: Northeast Auctions (2005), 1331

226 Olivia Kimberly Adams: Clars Auction Gallery (2005), 6396

227 Abigail Adams Hoag: Clars Auction Gallery (2005), 6395

228 Tripp Hoag and Sally Ann Hoag: Sotheby, Parke Bernet, Inc., 4369.230

229 Isaac Hunting: Hirschl & Adler Galleries, Inc.

230 Mrs. Dr. Downe: American Museum of Folk Art, 1999.11.12 [Adam Reich]

231 Hannah Lewis Husted Hunting: Charles Lenhert

232 Unidentified Woman: Lewis Scranton, Killingworth, Conn.

233 John Garnsey and Mercy Mead Garnsey: Eldred’s, 2015.1352

234 Unidentified Man and Woman: Hunter Museum of American Art, 1993.17 and 1993.16

235 Mary Hamilton Ingraham: Skinner, Inc., 2640B.70

236 Morgan Hunting and Julia Barton Hunting: Benson Ford Research Center, Henry Ford Museum and Greenfield Village

237 Lucy Hamilton: Northeast Auctions (10/2007), 662

238 Louisa Park Benjamin: Frick Art Reference Library [Carl. L. Lanio, Kansas City, Mo., 1948]

239 Charles Wesley Powers: Frick Art Reference Library [Carl L. Lanio, Kansas City, Mo., 1948]

240 Jane Ann Benjamin Powers: Dayton Institute of Art

241 Unidentified Woman: Jeffrey Tillou Antiques

242 Mary Powers: Public Museum of Grand Rapids, 184408

243 Caroline Powers: Public Museum of Grand Rapids, 123111

244 Unidentified Woman: Giampietro Gallery

245 Sherman Bassett and Hannah Sornborger Bassett: Currier Museum of Art, 2003.1.1 and 2003.1.2

246 Dr. Peter Bennett Guernsey (and patient): New York State Historical Association [private collection]

247 Mary Ann Thorn Guernsey: Tillou (1973), see bibliography

248 Fanny Brush Rundle: San Diego Museum of Art, 1934.19

249 Unidentified Man: Sotheby’s, N08665.77

250 Unidentified Man: Mattatuck Historical Society, X68.166

251 Mrs. Cobb: Courtesy Howard Fertig

252 Thomas Isaac Storm: Metropolitan Museum of Art, 1980.360.1

253 Hendrick Hulst and Aletta Van Alst Hulst: Albany Institute of History and Art, 1971.24.1 and 1971.24.2

254 John Van Deusen, Senate House Historic Site, Kingston, N.Y. (Antiques, Sep 1982)

255 Dr. Horatio Dewey, Senate House Historic Site, Kingston, N.Y. (Antiques, Sep 1982)

256 James Elting: Carlsen Gallery (6/2011), 131

257 Katherine Salisbury Newkirk Hickok: Florence Griswold Museum, 2002.1.103

258 Dr. Levi King and Lovisa Peck King: Mr. & Mrs. William H. Smith, Fairbanks, Alaska

259 Horace Austin and Mary Ludlow Austin: Antiques, May 1979 (George E. Schoellkopf)

260 Elizabeth Mygans: Antiques & Fine Art (2010)

261 Gen. Samuel Ten Broeck: Columbia County Historical Society

262 Leonard William Ten Broeck and Helen Livingston Ten Broeck: Albany Institute of History and Art, 1977.16.1 and 1977.16.2

263 Elizabeth McKinstry Livingston: Frick Art Reference Library [Ira W. Martin]

264 Judge John Sanders III: Frick Art Reference Library [Ira W. Martin]

265 Jane Livingston Sanders: Pook & Pook, Inc. (2021), 304

266 Unidentified Woman and Man: Princeton University Art Gallery, y1958-79 and y1958-78

267 Unidentified Woman: Ron Hoffman and Tony Gampetro, New York, N.Y.

268 Welcome B. Arnold and Mary L. Rowe Arnold: Frick Art Reference Library [Ira W. Martin]

269 Unidentified Woman: Tillou Gallery (Antiques, January 1982)

270 John Van Leuven Overbagh: private collection

271 Dr. William Cantyne De Witt: Frick Art Reference Library [Geoffrey Clements]

272 Elizabeth Hardenbergh De Witt: Northeast Auctions (2014), 192

273 Henry Schenck Teller and Jane [Catherine] Storm Teller: National Gallery of Art, 1953.5.30 and 1953.5.31

274 Unidentified Woman: Frick Art Reference Library [Harry Stone Gallery]

275 Marius Schoonmaker: Sotheby’s, 5744.165

276 Sarah Ann Palen Northrop and Lewis Northrop: Albright-Knox Art Gallery, K1986.3 and K1986.2

277 Unidentified Man: Hemphill (1978), see bibliography

278 Mrs. Day and Mr. Day: National Gallery of Art, 1953.5.29 and 1953.5.28

279 Unidentified Man and Woman: Christie’s, 8238.32

280 Mrs. Mayer and Daughter: Metropolitan Museum of Art, 62.256.2

281 Helen [Lena] Ten Broeck: Joan R. Brownstein

282 William Henry De Witt and Catherine Ten Broeck De Witt: private collection

283 Jacob Wessel Ten Broeck, Sr. and Anna Benner Ten Broeck: author photos

284 Hannah Masten Radcliff: Frick Art Reference Library [Ira W. Martin]

285 Henry Lawrence and Christiana Rockefeller Lawrence: Smithsonian Institution, National Museum of American History

286 Jacob Hasbrouck De Witt: Frick Art Reference Library [Ira W. Martin]

287 Abraham Patterson: Sotheby’s, 6444.211

288 James de Long: Sotheby’s, 5810.1132

289 Unidentified Man: Sotheby’s: 6444.197

290 John Hughes: Sotheby’s, N08708.1062

291 Unidentified Woman and Man: Sotheby’s, 6731.25

292 Caroline Jane Opie: Sotheby’s, 5744.11

293 William Stevens: Sotheby’s, 5280.188

294 Margaret Stevens Bentley or Elizabeth Buckley: Village Green Antiques, Richland, Mich. (Antiques, January 1982)

295 Unidentified Man: Jeffrey Tillou Antiques

296 Unidentified Man and Woman: Sotheby Parke Bernet, Inc, 4209.246

297 Unidentified Man: private collection

298 James Ketcham: Philadelphia Museum of Art, 2014-152-1

299 Lois Belding Ketcham: Marguerite Riordan [Antiques, May 1980]

300 Unidentified Man: Christie’s, 1387.76

301 Unidentified Woman and Man of the Russell family: Sotheby’s, 7420.423

302 Rufus Fuller and Elizabeth Drake Fuller: Kent Historical Society

303 Almira Lucretia Mills Adams: Corbis Images, IE001821 [Geoffrey Clements]

304 John Milton Raymond and Florilla Mills Raymond: Frick Art Reference Library [Peter A. Juley & Son, 1925]

305 Hannah Mills Raymond (Newcomb): Frick Art Reference Library [Peter A. Juley & Son, 1925]

306 Matthew Starr Barnum: Rathbone (1933), see bibliography

307 Julia Ann Fuller Barnum: Robinson, Antiques (January 1931) [Newark Museum]

308 Phoebe E. Preston Haviland: Frick Art Reference Library [Peter A. Juley & Son, 1925]

309 Marquis de La Fayette Phillips and Jane Maria Pells Phillips: Sotheby’s / private collection

310 A.E. Allen: Christie’s, 3703.98

311 Abraham Burton and Celia B. Sayrs Burton: Antiques (January 1968) [John Gordon]

312 Jane Eliza Allen Wright: private collection

313 John Guy Vassar, Jr.: Cunneen-Hackett Arts Center [author photo]

314 Unidentified Man and Woman: Sotheby’s, 6392.686

315 Unidentified Man: Frick Art Reference Library reproduced from Lipman (1942), see bibliography

316 Peter Cornell: Maine Antique Digest (May 1988)

317 Thomas Cornell: Maine Antique Digest (May 1988)

318 Jeremiah Russell and Elizabeth Moose Russell: Christie’s, 1591.121

319 Unidentified Woman: Skinner, 3303T.1499

320 Isaac Cocks and Martha Van Duzer Cocks: private collection

321 Unidentified Woman: Sotheby’s, N07959.307

322 Jeanette Payne: Northeast Auctions / Godel & Co., New York, N.Y.

323 Ann Miller Tompkins: Joan R. Brownstein

324 Mary Hoyt: Christie’s, 1787.291

325 Unidentified Man and Woman: Sotheby’s, NY7705.134

326 Unidentified Man: Sotheby’s, 7590.473

327 Unidentified Man: Sotheby’s, N09609.5071

328 Unidentified Woman: Crystal Bridges Museum of Art [photo courtesy Washburn Gallery]

329 Unidentified Man: David Wheatcroft

330 Helen Cornell Manney: Dutchess County Historical Society

331 Sarah Rogers: Baltimore Museum of Art, 1973.92.1

332 Unidentified Woman: Sotheby’s, 7590.470

333 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

334 Anna Farrington Noxon: Washburn Gallery (1976)

335 Hoag family member: private collection

336 Archibald Campbell: Francis Lehman Loeb Art Center, Vassar College

337 Elizabeth Mitchell Campbell: private collection

338 Unidentified Woman: Memorial Art Gallery, University of Rochester, 84.22

339 Unidentified Man and Woman: Doyle New York, 12AM02.7

340 Unidentified Woman: Shelburne Museum, 2002-32 [Bruce Schwarz]

341 Jonathan Akin Taber and Abigail Julia Ayers Taber: private collection

342 Unidentified Man: Sotheby’s, N08400.206

343 Unidentified Man: Sotheby’s, N07959.309

344 Unidentified Woman (aka Mrs. Zachariah Flagler): Princeton University Art Museum, y1958-60

345 Jeannette Elizabeth Woolley: Brooklyn Museum of Art, 69.7

346 Frances Sprague Foster and Judge Ebenezer Foster: Jeffrey Tillou Antiques

347 Augusta Maria Foster (Raymond): David A. Schorsch & Eileen M. Smiles

348 Sarah E. Haxtun (probably): Christie’s, 21026.472

349 Unidentified Girl, possibly a Raymond family member: Sotheby’s, N08280.7

350 Unidentified Man and Woman: American Folk Art Museum, 1991.30.2 and 1991.30.1

351 Unidentified Woman: Sotheby’s, 5680.1510

352 Preston Wing: Sotheby’s, 6392.881

353 Egbert Sheldon and Phebe Ann Wing Sheldon: Sotheby’s, 6392.880

354 Unidentified Man and Woman: Skinner, Inc., 2640B.15

355 Unidentified Woman: Sotheby’s, N07960.16

356 Mr. Doane: Doyle New York (2015), 7

357 Unidentified Man and Woman: Sotheby’s, N08512.177

358 Polly Clason Brady: Sotheby’s, N09805.1025

359 Gerard Crane and Roxanna Purdy Crane: Somers Historical Society

360 George C. Sunderland: private collection

361 Rev. Ashbel Green: The First Presbyterian Church in Philadelphia

362 Rev. Walter Smith Lyon: Emeline Howe Malpas, Little River, Ca.

363 Unidentified Man: Samuel Herrup Antiques

364 Mr. and Mrs. Vail from Afton, N.Y.: Pook & Pook (2014), 674

365 Unidentified Man: Pook & Pook (2012), 79

366 Mr. Goodwin: Antiques & The Arts Weekly (Feb 5, 1993)

367 Mr. Bates: Skinner, Inc., 2384.463

368 Unidentified Man: Doyle New York, 15AM02.5

369 Unidentified Man and Woman: Cottone Auctions (2006), 240

370 Unidentified Man and Woman: Philadelphia Museum of Art, 73-263-1 and 73-263-2

371 Unidentified Woman: Milwaukee Art Museum, M1966.113 [P. Richard Eells photo]

372 Jacob Wessel Ten Broeck, Jr. and William Henry Ten Broeck: Skinner, Inc., 2640B.7

373 John Younie Luyster: Chrysler Museum of Art, 74.6.4

374 Unidentified Boy, possibly Aaron D. Smith: Philadelphia Museum of Art, 2001-13-1

375 Rachael Ann Maria Overbagh Ostrander and Titus Ostrander: Jane Katcher Collection

376 Unidentified Boy: Princeton University Art Museum, y1958.75

377 Unidentified Girl: Princeton University Art Museum, y1958.74

378 Unidentified Child: Sotheby’s, N10306.1637

379 Unidentified Child: Sotheby’s, N08710.303

380 Unidentified Girl: American Folk Art Museum, 2001.37.1

381 Unidentified Girl: Christie’s, 16796.1205

382 Unidentified Girl: Christie’s, 1787.289

383 Unidentified Girl: Terra Foundation for American Art, 1992.57

384 Unidentified Girl: Sotheby’s, N08823.260

385 Mary Margaret Deuel: Sotheby’s, N08665.1

386 Henry Soggs and Mary Jane Soggs: Northeast Auctions (2006), 859

387 James Mairs Salisbury: Gavin Ashworth Photography, New York City

388 Andrew Jackson Ten Broeck: private collection

389 William Frederic Taber: private collection

390 William Edward Haxtun (probably): Olde Hope Antiques

391 William Woolley Haxtun: Connecticut Historical Society (1965), see bibliography

392 Almira Haxtun: Connecticut Historical Society (1965), see bibliography

393 Haxtun kitten (canvas fragment): Connecticut Historical Society (1965), see bibliography

394 Sarah Woolley Haxtun: private collection

395 Benjamin Haxtun: Connecticut Historical Society (1965), see bibliography

396 Joseph White Phillips: Fishkill Historical Society [author photo]

397 Elias Phillips and Elizabeth Northrup Phillips: Fishkill Historical Society [author photos]

398 Anna Van Voorhis: Doyle, New York

399 Elizabeth Phillips Storm and John Curry Storm: Fenimore Art Museum, N0001.1983 and N0023.1982 [Richard Walker]

400 Unidentified Man: Christie’s, 1787.290

401 Joseph Bogardus and Barbara Moffet Bogardus: Fishkill Historical Society

402 Isaac Simmons and Sarah Simmons: private collection

403 Harriet Simmons Hasbrook: Sotheby’s, 5736.270

404 Catherine Collins Flagler: private collection

405 Phebe Van Amburgh Hasbrook and Francis Jacob Hasbrook: Catalog of American Portraits [private collection]

406 Elnathan Haxtun: Christie’s, 22325.449

407 Tunis Cooper and Maria Budd Cooper: Cottone Auctions (2005), 152

408 Unidentified Man: Leslie Antiques Ltd., New York

409 Ira Williams and Melissa Calkins Williams: Sharon Historical Society

410 Hon. John Cotton Smith: Sharon Historical Society

411 Phebe Doud Gay: Sharon Historical Society

412 Calvin Gay: Sharon Historical Society [author photo]

413 Unidentified Woman: Christie’s, 2133.324

414 Sarah (Sally) Totten Sutherland: Christie’s, 9468.25

415 Unidentified Woman: Abby Aldrich Rockefeller Folk Art Museum, 64.100.5

416 Thomas Parker: Northeast Auction (2007), 110

417 Charles Brown and Elizabeth Marshall Brown: Pugsley (1976), see bibliography

418 Catherine De Cantillon Stoutenburgh: private collection

419 Tobias Isaac Stoutenburgh and Maria Albertson Stoutenburgh: private collection

420 Unidentified Woman of the Stoutenburgh family: Capsule Auctions (2020), 66

421 Unidentified Man and Woman: Northeast Auctions (2006), 1042

422 Deacon Benjamin Benedict: Hirschl & Adler Galleries, Inc. (1970)

423 Mr. and Mrs. Keese: Stair Galleries (2018), 79

424 Rachel Divine: Copake Auction (2013), 30a

425 Unidentified Man (“Dr. J. Ransom, DD”) and Woman: Sotheby’s, N07998.178

426 Julia Anna Stone Morehouse: Copake Auction (9/2011), 25

427 Col. Henry Rundall and Nancy Totten Sutherland Rundall: Kenneth Hammitt (Antiques, Jul 1971)

428 Rebecca Beebe Rockwell: Frick Art Reference Library [Ira W. Martin, 1942]

429 Judge Miles Tobey Granger and Caroline S. Ferguson Granger: Weston’s Auction Gallery (2004)

430 Theron Bronson and Maria Rachel Munsill Bronson: Alex Cooper Auctioneers (2018), 912

431 Margaret Phelps Higley: Falls Village-Canaan Historical Society

432 Unidentified Woman: EBTH, Inc., 18DCC700.116

433 Unidentified Man and Woman: Christie’s, 2815.164

434 Sarah J. Kinney: Litchfield Historical Society

435 Nisus Kinney: Litchfield Historical Society

436 Sarah Wakefield Kinney: Carlsen Gallery (2004), 172

437 (possibly) Sen. John Henry Hubbard and Julia Ann Dodge Hubbard: Post Road Gallery

438 Lucius Culver: Litchfield Historical Society

439 Unidentified Woman: Bruce Museum

440 Theron Daniel Ludington and Eleanor Bailey Ludington: Christie’s, 2287.125

441 Augustus Miles and Roxa Norton Miles: Pook & Pook, Inc. (1998), 221

442 Mr. and Mrs. Seymour of Connecticut: Skinner, Inc. (2009), 953

443 Milo Bartholomew and Milia Holbrook Bartholomew: Shannon’s, Milford, Conn. (2013), 177

444 William Miles: The Salisbury Association, Inc.

445 Possible Miles family member: Holley-Williams House Museum, Lakeville, Conn. [author photo]

446 Unidentified Woman: Sotheby’s, N08158.350

447 Dr. Ovid Plumb and Abiah Lawrence Plumb: Pook & Pook, Inc. (1998), 220

448 Unidentified Woman: Skinner, Inc., 2824T.1070

449 Mr. and Mrs. James Reed: CRN Auctions (2023), 175

450 Unidentified Woman: Newark Museum, 66.620

451 Dyer Hotchkiss: Torrington Historical Society

452 Electa Susannah Brace Hotchkiss: Torrington Historical Society

453 Edward C. Hotchkiss: Torrington Historical Society

454 Lucia E. Hotchkiss: Torrington Historical Society

455 Henry E. Hotchkiss: Torrington Historical Society

456 Susan W. Kinney: Gratz Gallery, New Hope, Pa.

457 Emily Miner Palmer Fox: Tillou Gallery

458 Maria Rachel Munsill Bronson and Wilbur Bronson: Jane Katcher Collection

459 Jane E. Kinney: author photo

460 Unidentified Man and Woman: Sotheby’s, 7590.469

461 Leonard Richardson and Lucy Anne Barnum Richardson: private collection

462 Milo Barnum Richardson: private collection

463 Edward Hiram Bronson and Henry Theron Bronson: Katcher (2011), see bibliography

464 Unidentified Children: Christie’s, 8984.24

465 Virginia Ludington and Theron Simpson Ludington: Christie’s, 2287.124

466 Unidentified Man and Woman: Abby Aldrich Rockefeller Folk Art Museum, 48.100.1 and 48.100.2

467 Nathan Gaylord Benjamin: Carlsen Gallery (2004), 171

468 Unidentified Man and Woman: Skinner (2012), 334

469 Unidentified Woman: Pook & Pook, Inc. (2014), 673

470 Henry W. Langdon: private collection

471 Unidentified Man and Woman: Sotheby’s, 5599.65

472 Unidentified Man: C. L. Prickett

473 Dr. Clarkson T. Collins and Lydia Coffin Collins: American Folk Art Museum, 2016.18.3 and 2016.18.4 [Adam Reich]

474 Dr. Joseph Priestly Dorr, private collection [courtesy George C. Colcough, Jr.]

475 Henry Sisson and Lucy Amanda Howe Sisson: Doyle New York, 15AM02.8

476 Unidentified Woman: Northeast Auctions (2005), 614

477 Unidentified Woman: Sotheby’s, 3981.452

478 Unidentified Woman: Sotheby Parke Bernet, 4268.188

479 Unidentified Man: Christie’s, 9686.929

480 Unidentified Man: Sotheby’s, 4211.588

481 Unidentified Man: Sotheby’s, 5141.334

482 Unidentified Man: private collection

483 Unidentified Man: Sotheby’s, 6613.94

484 Mr. Cooper: Christie’s, 6320.119

485 Unidentified Man: Leslie Hindman Auctioneers, 430.723

486 Unidentified Man: Marguerite Riordan (Antiques, Nov. 1974)

487 Unidentified Man: Peter Jung [Yost Conservation]

488 Ebenezer Chadwick: Charles L. Flint Antiques

489 Asa Beckwith: Doyle New York, 15AM02.7

490 Unidentified Man: Skinner, Inc., 2460.259

491 Unidentified Boy: private collection

492 Unidentified Man: Christie’s, 8238.31

493 Unidentified Man: Freeman’s, 1456.171

494 Unidentified Man: James D. Julia, Inc. (2014), 2211

495 Lorrin Smith and Eliza Smith: George E. Schoellkopf, New York, N.Y. (1975)

496 Elisha Barnes: Berkshire Museum, Pittsfield, Mass., 1972.18

497 Thomas Williams Barnes and Zilpha Arnold Barnes: Berkshire Co. Historical Society, author photo

498

Caroline H. Williams Barnes: Berkshire Museum

499 Perry Green Comstock and Elizabeth M. Comstock: Stockbridge Library Association

500 Mrs. Lyman: Doyle New York (2015), 15

501 Ethan Allen Van Deusen and Clymena Tobey Van Deusen: Frick Art Reference Library [Thurman Rotan]

502 Henry Sedgwick: Richard Opfer Auctioneering (2004), 186

503 Unidentified Man: Christie’s, 8238.30

504 Sarah King Dewey and Harriet Maria Dewey: private collection

505 Chauncey Erastus Dewey and Caroline Bailey Dewey: Charles L. Flint

506 Unidentified Woman: Quinn’s Auction Galleries (2014), 249

507

Thomas Carter: The Stockbridge Library Association (1991)

508 Anna Benedict Smith: Wintergarden Auction Service (2013)

509 Enos Smith: Christie’s, 6842.155

510 Edward Church Carter: Doyle New York (2015), 9 [Sotheby’s, 7329.130]

511 Anna Electa Carter, Mary Adele Carter and John Calvin Calhoun Carter: Heritage Auction Galleries, 5057.64068

512 Unidentified Girl (aka Mary O’Connel): Princeton University Art Museum, y1985-71

513 Emily Cooper: private collection

514 Edward Harmon Langdon: Jeffrey Tillou Antiques

515 Unidentified Boy: Freeman’s, 1530.472

516 Florence Maria Carter: Christie’s, 2815.250

517 Unidentified Boy: Hollander (2009), see bibliography [private collection]

518 Unidentified Woman and Boy: private collection

519 Unidentified Boy: William J. Jenack (2017)

520 Unidentified Woman: Larry Burke, Inc.

521 Unidentified Boy: Christie’s, 4999.185

522 Unidentified Boy: Skinner, Inc., 2608.917

523 Unidentified Child: Jones and Mears, Hudson Valley Regional Review (1987), see bibliography

524 Duane Bailey Dewey: private collection

525 Elizabeth Harris Husted: Holdridge, Antiques (1961), see bibliography

526 George W. Beckwith: Jones and Mears, Hudson Valley Regional Review (1987), see bibliography

527 Boy of the Overbagh family (attributed to John Vanderlyn II): Frick Art Reference Library, 40069 (courtesy Senate House Association, Kingston, N.Y.)

528 Eleanor Ward Humphrey (by Ezra Ames): Princeton University Art Museum, 2000-320

529 Ann Dunkin and Dunkin Henry Van Rensselaer (by Bass Otis): Albany Institute of History and Art, 1995.31

530 William Cockburn (attributed to John Vanderlyn): Frick Art Reference Library, 15355 [Ira W. Martin]

531 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 (Dubois), 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