Virginia's Past in Portraiture; Wm. and Mary Qrtly., Vol. 2, No. 1; 1893 Transcribed by Kathy Merrill for the USGenWeb Archives Special Collections Project ************************************************************************ USGENWEB ARCHIVES NOTICE: These electronic pages may NOT be reproduced in any format for profit or presentation by any other organization or persons. Persons or organizations desiring to use this material, must obtain the written consent of the contributor, or the legal representative of the submitter, and contact the listed USGenWeb archivist with proof of this consent. The submitter has given permission to the USGenWeb Archives to store the file permanently for free access. http://www.usgwarchives.net *********************************************************************** Virginia's Past in Portraiture R. A. Brock William and Mary College Quarterly Historical Papers, Vol. 2, No. 1. (Jul., 1893), pp. 30-35. VIRGINIA'S PAST IN PORTRATURE. BY R. A. BROCK, SECRETARY OF THE SOUTHERN HISTORICAL SOCIETY In the number of the timely and provident Quarterly for October last, I endeavored, earnestly, if briefly, to enlist interest in, it may be claimed, an attractive field of investigation. I should hope that resultant information as to the "portraits of Colonial Virginians", and those who painted them might be regarded not only as pleasant pabulum to personal pride, but further as in contribution to American Art. That I am correct in the latter apprehension, a query from Mr. Henry Hart, Chairman on Retrospective Art of the World's Columbian Exposition, asking information as to some portrait painters accredited to Virginia in the past century makes evident. This query was published by me in the excellent column of "Queries and Answers" of the Richmond Dispatch of March 12th last. Information was desired as to the dates of birth and death of the following: ------- Frazier, cucu. 1763. John Durand, circu. 1762. Edward P. Peticolas. I essayed some information in the query cited. Of Frazier, I still know nothing, and apprehend, from reference, that Mr. Hart's knowledge was a chance Page 31. catch of bare mention, in his reading. John Durand(1), painted a portrait of Washington, which was engraved. This engraving is one of the extra illustrations of the copy of "Marshall's Life of Washington" in 4to, extended, by insertion of portraits, etc., ten volumes, which was secured to our State Library by the providence of my deceased friend and predecessor in a past trust (that of Corresponding Secretary and Librarian of the Va. Hist. Society), Thomas H. Wynne. I should not let the memory of this useful citizen, in his prime excellence as a con- servator of Virginia history, be allowed to slumber, as the average Virginian of his own generation might fain let it. As to Peticolas, who painted from life a miniature of Washington, which is in the possession of a great-grand-son, now residing in Richmond, there is a misapprehension as to personal identity. The son has been conflicted with the father. He of whom information was asked, was Phillippe S. Peticolas, the father of Edward P. Peticolas. The life of the former was one of vicissitude, and not devoid of a tinge of romance. __________________________________________________________ (1) "Strollling into Franck's picture repairing establishment [Richmond, Va.] this morning I saw a picture. This it must have been, because turning the visage about, I saw on the back of the canvass this: 'Thomas Newton, aged 56, 1770 John Duran'ds pinxit', *I have nothing to do with Durand's merits as a painter, or when the painted the portrait. This last is a bust proper size. Thomas is clean-shaven and wears seemingly distinctively a brown wig falling about his ears, light brown doublet, left hand thrust in, vest red, shirts ruffled, cocked hat under right arm." Brock MS., May 9, 1892. "I have found at Franck's a companion picture to the Geo. Newton. It is marked on the stretcher - Amy Newton, aged 45, 1770, John Durand, pinxit. The lady is painted with a lace bordered cap, a reddish bodice lace ornamented, square cut bosom with a pin (?) at the centre, part in the front, about the shoulders a light red cloak trimmed with ermine. The size of the portrait is 25 by 30 inches." May 14, 1893. Page 32. He was the son of a veteran soldier, Colonel Nicholas Peticolas, and was born at Mizures, France - 22 March, 1760. After a partial collegiate course, which innate spirit of ad- venture caused him to abruptly abandon, he enlisted, a mere lad, a private soldier in the command of the Prince of Deux Ponts under whom, and subsequently in the army of the King of Bavaria, he served eight years. During the latter part of his life as a soldier, following another instinct, he acquired proficiency in, the art of miniature painting. Leaving the army, he went to San Domingo, to take possession of an estate there left him by a deceased brother. In 1790, he came to Americal, locating first in Philadelphia, where he painted portraits, (among them that of Washington) and gave sessions in music and paint- ing. He next resided in Lancaster, Pa. from whence he made several visits to New York, Philadelphia and Baltimore as a portrait painter. About the year 1805, he was induced by Joseph Gallego, (an uncle of Count Ferdinand de Lesseps) the founder of the famous Gallego Flouring Mills, to make Richmond his home. He was highly esteemed as a citizen. It may be noted that he was a member in 1840 of the Building Committee of the well-known St. James' Episcopal Church, and was a Warden of the church. Among other friends among Richmond's citizens of the early part of this century who held him in regard were Thomas Sully, Wm. H. Fitzwhyllson and M. B. Poitiaux. He died in Petersburg in 1843, whilst on a visit to that city. His eldest son Edward P. Peticolas was a man of varied talents, but of erratic mind. He spent some years in Europe, and had there the advantags of tuition in art under dis- tinguished masters. I have seen exam- Page 33. ples from his pallet of much merit - in wild scenery, weird forests and picturesque gorges was his triumph. His latter years were spent in gardening at a point on the Grove road, beyond the western limits of Richmond. As a lad of seven or eight years, accompanying my father in drives, the person of the weird old man and the wonder of his bizarre "Castle", as it was called, were indelibly impressed on my youthful imagnination. The "castle" was of wood, chiefly; a heterogeneous mass in form and material defying literal description. There were many additions in different stages of completion, and turrets varied in dimensions and attitude; the whole unpainted, and some portions in course of decay, whilst others were constantly receiving the addition of new boards or framing timbers. The old man was devoted to the culture of roses, fruits and grapes; and depredating urchins from the neighborhood, and sometimes from the city, gave him much annoyance. I have witnessed his rage at some of his spoilations, as he pursued the freebooters in their hasty flight. The "castle" had disappeared long before the late war between the States. Its owner left a son, brilliantly endowed, whose sad fate is a permanent grief to a host of friends and admireres. As physicist, anatomical surgeon, painter, lecturer and writer, Arthur E. Peticolas was alike accomplished. The suggestion of another artist of the last century, Alexander Campbell of Norfolk, Va. is not impertinent in this reminiscent revel. He also painted a protrait of the "Father of his Country"; of other works of his, the readers of the Quarterly may be bale to bear witness. Page 34. It is not uninteresting to note other styles of portraiture, than in oil, which obtained in Virginia, from about the period of the American Revolution. I am not definitely informed as to when the impressive profile, cut from black paper, was introduced in America. All may not know that its designation, Sillhouette, was applied in derision of the methods of an economical minister of Louis XVI of France, who died in 1767. The earliest mention of the practice of the art, I have met with, is by the unfortunate Major Andre, during the British occupancy of Philadelphia in 1778. It continued in vogue for several decades of the present century. One Brown of Philadelphia, visited Richmond in 1829, and made such portraits of Chief Justice Marshall, Bishop Moore and other celebri- ties. Examples of his skill are still extant. So proficient was he in the use of the scissors that he is said to have executed in profile an extended panorama in varied repre- sentation of life and inanimate objects. The present writer timorously admites that he has sometimes recognizably "cut" his own friends in this shabby way. Portraits in medallion, in wax, white, and in proper colors, in bust and in full length, executed from about the period of the close of the last century, are also sometimes met with in Virginia. An example in white wax, a bust originally, full length of Chief Justice Marshall, was presented to the Va. Historical Society a few years ago, by my excellent friend, Rev. Horace Edwin Hayden, Wilkesbarre, Penn. Possibly some of the readers of the Qaurterly may possess wax portraits of revered ancestors, and may know who executed them. I am reminded of Page 35. the celebrated exhibition of figures in wax of Madame Tussaud. A full catalogue of the protraits of the worthies and gracious matrons of Virginia, in pastelle and in model engraving, by the eminent St. Memin is a desideratum. Responses to these suggestions are awaited, I doubt now, with eager solicitude(1). __________________________________________________ (1) The following extract from Wynne's "memoirs of the Bolling Family" is in the line of Mr. Brock's paper. My Wynn says: "The oldest and most consecutive series of family portraits now known to us in Virginia, gelongs to the heirs of the late Col. Burwell B. Moseley of Norfolk, Va. These we believe reach back to the days of the Protectorate. A portrait of Robert Carter of Corotoman is still preserved at Shirley, on James River, or was there during our recent troubles. The portraits of the Newtons, of Norfolk, painted by Durand, run back to 1713, and are in possession of their worthy descendant, Tazewell Taylor, Esq. The Mosely and Newton portraits embrace a longer continuous period than any other Collection that we can now call to mind. The Wright, the Balfour, and the Walker portraits present a field of observation, but are confined to the eighteenth century" - Editor. The Va. Gazette for Aug. 11, 1775, [Alexander Purdie, Editor], has the following: "Mr. William Pierce, Jun. is just returned from Annapolis in Maryland, where he has studied painting under the celebrated Mr. Peale and we hear, intends residing here for sometime". - Editor.