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590:, who then urged his visiting New York. Accepting the invitation later, Copley, between June 1771 and January 1772, painted thirty-seven portraits in New York, setting up his easel "in Broadway, on the west side, in a house which was burned in the great conflagration on the night the British army entered the city as enemies." Copley's letters to Henry Pelham, whom he left in charge of his affairs in Boston, describe minutely the journey across New England, his first impressions of New York, which "has more Grand Buildings than Boston, the streets much cleaner and some much broader," and the successful search for suitable lodgings and a painting-room; thereafter they give detailed accounts of sitters and social happenings. The correspondence also contains Copley's careful instructions to Pelham concerning the features of a new house then being built on his Beacon Hill "farm," giving elevations and specifications of the addition of "peazas" which the artist saw for the first time in New York. Copley at the time had a lawsuit respecting title to some of his lands. His letters reveal a man who allowed such disputes to worry him considerably.
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present state of things in this country where every difficulty of living is increasing and the advantages arising from his profession are decreasing". In
October 1811, Copley wrote to Greene in distress, craving an additional loan of £600. And on March 4, 1812, he wrote: "I am still pursuing my profession in the hope that, at a future time, a proper amount will be realized from my works, either to myself or family, but at this moment all pursuits which are not among the essentials of life are at a stand". In August 1813, Mrs. Copley wrote that, although her husband was still painting, "he cannot apply himself as closely as he used to do." She reported in April 1814: "Your father enjoys his health but grows rather feeble, dislikes more and more to walk; but it is still pleasant for him to go on with his painting."
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uncongenial companion. Copley, however, may at times have been both depressing and bumptious. He found fault, according to Carter, with the French firewood because it gave out less heat than
American wood, and he bragged of the art which America would produce when "they shall have an independent government." Copley's personal appearance was thus described by his uncharitable comrade: "Very thin, a little pock-marked , prominent eyebrows, small eyes, which after fatigue seemed a day's march in his head." Copley afterward wrote of Carter: "He was a sort of snail which crawled over a man in his sleep and left its slime, and no more." Mrs. Amory relates that "both parties were undoubtedly glad to separate on their arrival at their destination." October 8, 1774, found Copley at
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340:, written November 12, 1766: "In this Country as You rightly observe there is no examples of Art, except what is to met with in a few prints indifferently exicuted, from which it is not possable to learn much." Variants of this thesis are found almost everywhere in his earlier letters. They suggest that, while Copley was industrious and an able executant, he was physically unadventurous and temperamentally inclined toward brooding and self-pity. He could have seen at least a few good paintings and many good prints in the Boston of his youth. The excellence of his own portraits was not accidental or miraculous; it had an academic foundation. A book of Copley's studies of the figure, now at the
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1093:, with whom they jubilantly discussed the new terms of peace between the United States and the United Kingdom. In the letter describing this visit the painter's infirmities are said to have been increased by "his cares and disappointments." A note of August 18, 1815, informed the Greenes that Copley while at dinner had had a paralytic stroke. He seemed at first to recover. Late in August his prognosis was favorable to his painting again. A second shock occurred, however, and he died on September 9, 1815. "He was perfectly resigned," wrote his daughter Mary, "and willing to die, and expressed his firm trust in God, through the merits of our Redeemer." He was buried in
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642:. "The date is 1628 on one of them," wrote Copley; "it is without dout I think Vandyck did them before he came to England." Back in New York Copley wrote, on October 17, requesting that a certain black dress of Mrs. Copley's be sent over at once. "As we are much in company," he said, "we think it necessary Sukey should have it, as her other Cloaths are mostly improper for her to wear". On December 15 Copley informed Pelham that "this Week finishes all my Business, no less than 37 Busts; so the weather permitting by Christmas we hope to be on the road." Thus ended Copley's only American tour away from Boston. Accounts of his having painted in the
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889:. The painting, however, brought him denunciation from Sir William Chambers, president of the Royal Academy, who objected to its being exhibited privately in advance of the academy's exhibition. In an open letter Chambers accused Copley of purveying his picture like a "raree-show" and of aiming for "either the sale of prints or the raffle of the picture." To this censure, obviously unfair to one newly arrived in London and uninformed as to the professional ethics of exhibiting, Copley one morning wrote a caustic reply, and in the evening wisely threw it into the fire. Engravings from the Chatham picture later sold well in England and America.
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414:, asking him for "a sett of the best Swiss Crayons for drawing of Portraits." The young American anticipated Liotard's surprise "that so remote a corner of the Globe as New England should have any demand for the necessary eutensils for practiceing the fine Arts" by assuring him that "America which has been the seat of war and desolation, I would fain hope will one Day become the School of fine Arts." The requested pastels were duly received and used by Copley in making many portraits in a medium suited to his talent. By this time he had begun to demonstrate his genius for rendering surface textures and capturing emotional immediacy.
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and inhabitants to have the powder house removed from the town whose existence it imperiled. Records of the Church in
Brattle Square disclose that in 1772, Copley was asked to submit plans for a rebuilt meeting-house, and that he proposed an ambitious plan and elevation "which was much admired for its Elegance and Grandure," but which on account of probable expensiveness was not accepted by the society. Copley's sympathy with the politicians who were working toward American independence appears to have been genuine but not so vigorous as to lead him to participate in any of their plans.
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referred to himself as "peculiarly unlucky in
Liveing in a place into which there has not been one portrait brought that is worthy to be call'd a Picture within my memory." In a later letter to West, of June 17, 1768, he displayed a cautious person's reasons for not rashly giving up the good living which his art gave him. He wrote: "I should be glad to go to Europe, but cannot think of it without a very good prospect of doing as well there as I can here. You are sensable that 300
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work to have come from so young a hand. The artist was only fifteen when (it is believed) he painted the portrait of the Rev. William
Welsteed, minister of the Brick Church in Long Lane, a work which, following Peter Pelham's practise, Copley personally engraved to get the benefit from the sale of prints. No other engraving has been attributed to Copley. A self-portrait, undated, depicting a boy of about seventeen in broken straw hat, and a painting of
808:. From Parma he wrote to Henry Pelham urging that the whole family leave America at once since, "if the Frost should be severe and the Harbour frozen, the Town of Boston will be exposed to an attack; and if it should be taken all that have remained in the town will be considered as enimys to the Country and ill treated or exposed to great distress." This anxiety was groundless, for Mrs. Copley and the children had already sailed on May 27, 1775, from
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372:, signed and dated 1754, disclose crudities of execution which do not obscure the decorative intent and documentary value of the works. Such painting would obviously advertise itself anywhere. Without going after business, for his letters do not indicate that he was ever aggressive or pushy, Copley was started as a professional portrait-painter long before he was of age. In October 1757, Capt. Thomas Ainslie, collector of the
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984:'s speech formally acknowledging American independence. "He invited me into the studio," wrote Watson in his Journal, "and there, with a bold hand, a master's touch, and I believe an American heart, attached to the ship the Stars and Stripes; this was, I imagine, the first American flag hoisted in Old England." Copley's contacts with New England people continued to be many. He painted portraits of
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384:"where there are several people who would be glad to employ You." This request to paint in Canada was later repeated from Quebec, Copley replying: "I should receive a singular pleasure in excepting, if my Business was anyways slack, but it is so far otherwise that I have a large Room full of Pictures unfinished, which would ingage me these twelve months if I did not begin any others."
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probably fitted Copley depending on his mood: he might be nervous from overwork and worry or in a normal condition. His granddaughter, Mrs. Amory, recalls that he usually painted continuously from early morning until twilight. In the evening his wife or a daughter read
English literature for his benefit. He took but little exercise–probably not enough for health.
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his grievance frequently recurs in the family correspondence, but it is not certain that Copley had any reason to feel himself defrauded. A memorandum prepared for him by
Gardiner Greene stated that long after the land "had passed out of Copley's possession it, or a part of it, was offered at no higher price than was paid to his son." Allen Chamberlain, whose
1868:, vol. I, p. 119. Ed. F. W. Bayley and C. E. Goodspeed, 1918) spoke of her father as "born in 1738." Worthington C. Ford, editor of the Copley-Pelham correspondence, and Frank W. Bayley, a biographer, accept the evidence as indicating that the artist "was born in 1738, and not in 1737 as usually stated" ("Copley-Pelham Letters," p. 48). James Thomas Flexner,
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948:, and others. He continued to paint portraits, among them those of several members of the royal family and numerous British and American celebrities. Between 1776 and 1815 he sent forty-three paintings to exhibitions of the Royal Academy, of which he was elected an associate member in the former year. His election to full membership occurred in 1783.
722:, where he wrote to his wife describing, among other things, the inexpensiveness of the silks: "The velvet and satin for which I gave seven guineas would have cost fourteen in London." He reached Rome on October 26. "I am very fortunate," he wrote, "in my time of being here, as I shall see the magnificance of the rejoicing on the election of the
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extraordinary, that he could hardly fail to make a place for himself among
British artists. He himself, however, "often said, after his arrival in England, that he could not surpass some of his early works". The deterioration of his talent was gradual, however, so some of the "English Copleys" are superb paintings.
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reasonably conjectured, by his future stepfather, who, besides painting portraits and cutting engravings, eked out a living in Boston by teaching dancing and, beginning
September 12, 1743, by conducting an "Evening Writing and Arithmetic School", duly advertised. It is certain that the widow Copley was married to
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Copley was about fourteen and his stepfather had recently died, when he made the earliest of his portraits now preserved, a likeness of his half-brother
Charles Pelham, good in color and characterization though it has in its background accessories which are somewhat out of drawing. It is a remarkable
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to "bring a financial return." Cunningham says, "No customer made his appearance for Charles and the impeached members." Other canvases involving years of labor were unsold. Troubles with engravers were many, whether the fault was theirs or the painter's. Copley's letters to his son-in-law in Boston
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wrote during his visit to the United States are interesting reading but his quest was unsuccessful. "I do not believe," he wrote to his father, "that any person could have obtained from them one shilling more." Despite this report the artist made further efforts to recover his "farm". The subject of
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His correspondents in England continued to urge Copley to undertake European studies. He saved an undated and unsigned letter from some one who wrote: "Our people here are enrapture'd with him, he is compared to Vandyck, Reubens and all the great painters of Old." His brother-in-law Jonathan Clarke,
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quotes the jurist as saying that "his father, having lived rather expensively, accumulated little for him." Mrs. Amory makes out a case for Mrs. Copley's admirable management, but it appears that a standard of living difficult to maintain in the changed circumstances made much borrowing inevitable.
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In town and church affairs Copley took almost no part. He referred to himself as "desireous of avoideing every imputation of party spirit. Political contests being neighther pleasing to an artist or advantageous to the Art itself." His name appeared on January 29, 1771, on a petition of freeholders
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Except for a family tradition that speaks of his precocity in drawing, nothing is known of Copley's schooling or of the other activities of his boyhood. His letters, the earliest of which is dated September 30, 1762, reveal a fairly well-educated man. He may have been taught various subjects, it is
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The estate was settled by Copley's son, later Lord Lyndhurst, who maintained the establishment in George St., supported his mother down to her death in 1836, and kept the ownership of many of the artist's unsold pictures until March 5, 1864, when they were sold at auction in London. Several of the
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How deep into debt Copley had fallen in his latest years was hinted at in Mrs. Copley's letter of February 1, 1816, to Gardiner Greene in which she gave details of his assets and borrowings and predicted: "When the whole property is disposed of and applied toward the discharge of the debts a large
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The aging artist's physical and mental health produced anxiety. In 1810 he had a bad fall which kept him from painting for a month. He incessantly bewailed the loss of his Boston property. Mrs. Copley wrote on December 11, 1810: "Your father has been led to feel this affair more sensibly from the
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The income which Copley earned by painting in the 1760s was extraordinary for his town and time. It had promoted the son of a needy tobacconist into the local aristocracy. The foremost personages of New England came to his painting-room as sitters. He married, on November 16, 1769, Susanna Farnham
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artist. A letter from Copley was subsequently delivered to him. West got the canvas into the Exhibition of the year and wrote, on August 4, 1766, a letter to Copley in which he referred to Sir Joshua Reynolds's interest in the work and advised the artist to follow his example by making "a viset to
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having threatened to have his blood if he "entertained any such Villain for the future," Copley exclaimed: "What a spirit! What if Mr. Watson had stayed (as I pressed him to) to spend the night. I must either have given up a friend to the insult of a Mob or had my house pulled down and perhaps my
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on Beacon Street. Here were painted the portraits of dignitaries of state and church, graceful women and charming children, in the mode of faithful and painstaking verisimilitude which Copley had made his own. The family's style of living at this period was that of people of wealth. John Trumbull
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According to art historian Paul Staiti, Copley was the greatest and most influential painter in colonial America, producing about 350 works of art. With his startling likenesses of persons and things, he came to define a realist art tradition in America. His visual legacy extended throughout the
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For a place over the fireplace of the George St. dining room was painted the great family picture now at Boston, which, when first publicly shown by Lord Lyndhurst at the Manchester exhibition, 1862, was "pronounced by competent critics to be equal to any, in the same style, by Vandyck". But the
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As an English painter Copley began in 1775 a career promising at the outset and destined from personal and political causes to end in gloom and adversity. His technique was so well established, his habits of industry so well confirmed, and the reputation that had preceded him from America was so
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With many letters of introduction, all of which are published in the Copley-Pelham correspondence, Copley sailed from Boston in June 1774, leaving his mother, wife, and children in Henry Pelham's charge. He wrote on July 11 from London "after a most easy and safe passage." An early call was upon
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West's subsequent letters were considerably responsible for making Copley discontented with his situation and prospects in a colonial town. Copley in his letters to West of October 13 and November 12, 1766, gleefully accepted the invitation to send other pictures to the Exhibition and mournfully
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The effort with which Copley labored over his compositions was exemplary, but at times it may have injured his health and disposition. "He has been represented to me by some," wrote Cunningham, "as a peevish and peremptory man while others describe him as mild and unassuming." Both descriptions
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Copley's adventures in historical painting were the more successful because of his painstaking efforts to obtain good likenesses of personages and correct accessories of their periods. He traveled much in England to make studies of old portraits and actual localities. At intervals came from his
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harbour as a 14-year-old boy. It is likely that Watson, who went on to a successful career despite the attack and the loss of his leg below the knee, commissioned the painting as a lesson for other unfortunates, including orphans like himself, in the fact that even the severest adversity can be
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a Year, which is my present income, is a pretty living in America. ... And what ever my ambition may be to excel in our noble Art, I cannot think of doing it at the expence of not only my own happyness, but that of a tender Mother and a Young Brother whose dependence is intirely upon me". West
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on May 22, 1748, and that at about that time she transferred her tobacco business to his house in Lindall Street (a quieter, more respectable part of town), at which the evening school also continued its sessions. In such a household young Copley may have learned to use the paintbrush and the
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was made in company of an artist named Carter, described as "a captious, cross-grained and self conceited person who kept a regular journal of his tour in which he set down the smallest trifle that could bear a construction unfavorable to the American's character." Carter was undoubtedly an
442:, seated at a table and playing with a pet squirrel. This picture, which made the young Boston painter a Fellow of the Society of Artists of Great Britain, by vote of September 3, 1766, had been painted the preceding year. Copley's letter of September 3, 1765, to Capt. R. G. Bruce, of the
665:. He defended his wife's relatives at a meeting described in his letter of December 1, 1773. He wrote on April 26, 1774, of an unpleasant experience when a mob visited his house demanding the person of Col. George Watson, a Loyalist mandamus counselor who had gone elsewhere. The
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450:(whom Mrs. Amory describes as then "a member of the Royal Academy," though the academy was not yet in existence). West is said to have "exclaimed with a warmth and enthusiasm of which those who knew him best could scarcely believe him capable, 'What delicious coloring worthy of
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have no entry confirming this date. Copley himself wrote on September 12, 1766, to Peter Pelham, his step-brother, that he had had "resolution enough to live a bachelor to the age of twenty-eight" ("Letters and Papers of John Singleton Copley and Henry Pelham", p. 48,
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origin. Letters from John Singleton, Mrs. Copley's father, are in the Copley-Pelham collection. Richard Copley, described as a tobacconist, is said by several biographers to have arrived in Boston in ill health and to have gone, about the time of John's birth, to the
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brought hard times. The household at 25 George St. was expensive to maintain. The education of a talented son was costly. It grieved the father that after the young barrister began to earn his way it became necessary to accept his help in supporting the home.
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The artistic opportunities of the home and town in which Copley grew to manhood should be emphasized because he himself, as well as some of his biographers taking him too literally, have made much of the bleakness of his early surroundings. His son,
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in January 1775, writing to his wife: "The city is very large and delightfully situated but you have no idea of the dirt … and the people are as dirty as the streets—indeed, they are offensive to such a degree as to make me ill". The excavations at
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already in London, advised his "comeing this way." West wrote, on January 6, 1773: "My Advice is, Mrs. Copley to remain in Boston till you have made this Tour , After which, if you fix your place of reasidanc in London, Mrs. Copley to come over."
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ancestry. The union was a happy one, and socially notable. Mrs. Copley was a beautiful woman of poise and serenity whose features are familiar through several of her husband's paintings. Copley had already bought land on the west side of
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Prior to this marriage of his daughter, Copley had sold his Beacon Hill estate to a syndicate of speculators headed by Dr. Benjamin Joy. He felt himself victimized when he learned that the purchasers knew of a project of building the
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gives a detailed summary of the complicated negotiations surrounding this purchase, holds that Copley was fairly compensated at a price three times what he had paid for property from which he had had rents of considerable amount.
446:, reveals that it was taken to England as a personal favor in the luggage of Roger Hale, surveyor of the port of London. An anecdote relates that the painting, unaccompanied by name or letter of instructions, was delivered to
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and was taken to "the Royal Accademy where the Students had a naked model from which they were Drawing". In London Copley took no sitters at this time though urged to do so. Shortly before leaving for Italy he "dined with
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replied on September 20, 1768, saying that he had talked over Copley's prospects with other artists of London "and find that by their Candid approbation you have nothing to Hazard in Comeing to this Place."
697:, one with modern, topical subjects, chiefly death scenes of heroes, in a historic manner, but with scrupulous attention to contemporary detail" (Johnson 441). The American was duly introduced to Sir
336:, wrote that "he (Copley) was entirely self taught, and never saw a decent picture, with the exception of his own, until he was nearly thirty years of age." Copley himself complained, in a letter to
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West, to "find in him those amiable qualitys that makes his friendship boath desireable as an artist and as a Gentleman." "In England, what West and Copley did together was to create a new kind of
816:, making her home with her brother-in-law, Henry Bromfield. Her father, Richard Clarke, and her brothers came soon after. Copley happily rejoined his family and set up his easel, at first in
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Political and economic conditions in Boston were increasingly turbulent. Copley's father-in-law, Mr. Clarke, was the merchant to whom was consigned the tea that provoked the
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239:, which were innovative in their readiness to depict modern subjects and modern dress. His later years were less successful, and he died heavily in debt. He was father of
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320:; his stepfather Pelham, with whom he lived three years, was an excellent engraver and skillful also with the brush." The family lived next to the house occupied by
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He would have liked to return to America but his professional routine prevented this. He was politically more liberal than were his relatives. He painted the
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His many portraits of influential New Englanders—merchants, clergymen, lawyers—were remarkable for their craftsmanlike polish and clarity of design.
634:, they "saw a fine Coppy of the Titian Venus and Holy Family at whole length as large as life from Coregio". On their return journey they viewed at
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Following a fashion set by West and others, Copley began to paint historical pieces as well as portraits. His first foray into this genre was
211:(July 3, 1738 – September 9, 1815) was an Anglo-American painter, active in both colonial America and England. He was believed to be born in
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713:(the beginning of a nine-month European tour), where he saw and painstakingly described many paintings and sculptures. His journey toward
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1953:… his superbly crafted, realistic portraits of a prosperous and materialistic colonial society won him esteem and prosperity.
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Copley's plan of study and mode of living at Rome are described in several letters. He found time for excursions. He visited
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Besides painting portraits in oil, doubtless after a formula learned from Peter Pelham, Copley was a pioneer American
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In his last fifteen years, though painting persistently, Copley experienced much depression and disappointment. The
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are without foundation. Most of the Southern portraits that have been popularly attributed to him were made by
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of Boston, a wealthy gentleman whose descendants preserved much of the correspondence of the Copley family.
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American Paintings in The Metropolitan Museum of Art. Vol. 1: A Catalogue of Works by Artists Born by 1815
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602:(c. 1783) is one of Britain's largest oil paintings; it depicts the defeat of the floating batteries at
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1864:, vol. LXXI (1914)). His daughter, Elizabeth Clarke Greene (in a letter quoted by William Dunlap,
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himself!'" The American squirrel, it is said, disclosed the colonial origin of the picture to the
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the receipt of his portrait, which "gives me great Satisfaction", and advised the artist to visit
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In September 1771, Mr. and Mrs. Copley visited Philadelphia, where, at the home of Chief Justice
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engraver's tools. Whitmore says plausibly: "Copley at the age of fifteen was able to engrave in
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821:
643:
619:
812:
in a ship crowded with refugees. She arrived in London some weeks before Copley returned from
772:, and other works for Mr. and Mrs. Izard. About May 20 he started on a tour northward through
2962:
2021:
1542:
1142:
611:
503:
992:, and other Bostonians who visited England. He was elected a Foreign Honorary Member of the
3108:
3103:
2978:
2690:
1228:
858:
832:
762:
575:
136:
39:
8:
3048:
2831:
1134:
587:
276:
593:
2853:
2722:
2695:
2676:
1872:(Boston: Houghton Mifflin, 1948), p. 4, gives the "probable" birthdate as July 3, 1738.
1494:
1267:
813:
2790:
2780:
2664:
2563:
2201:
2191:
1935:
1901:
1891:
1090:
989:
477:
228:
207:
2132:
Not in 1760, as stated by Mrs. Amory, and not in 1774 as stated by Michael Bryan in
2954:
2702:
2682:
2625:
2019:
1576:
1150:
965:
942:
The Offer of the Crown to Lady Jane Grey by the Dukes of Northumberland and Suffolk
817:
694:
658:
639:
236:
180:
2637:
3053:
1780:
1146:
1119:
1115:
1094:
1053:
1024:
997:
902:
698:
647:
566:
It was known to earlier biographers that Copley at one time painted portraits in
544:
377:
85:
1884:
American Art at the Chrysler Museum: Selected Paintings, Sculpture, and Drawings
1677:
1610:
1377:
1114:
nineteenth century in the American taste for the work of artists as diverse as
977:
882:
754:
515:
and Elizabeth (Winslow) Clarke, the former being the very wealthy agent of the
373:
341:
2668:
2629:
2403:"Members of the American Academy of Arts & Sciences: 1780-2012: Chapter C"
3097:
3036:
2794:
2205:
1931:
1905:
1866:
A History of the Rise and Progress of the Arts of Design in the United States
1130:
1123:
1078:
805:
567:
555:
531:
447:
395:
337:
2511:
955:
729:
324:
Thomas Johnston and his family, and Copley became friends with Thomas's son
3081:
2754:
2749:
2654:
1644:
1593:
1138:
863:
841:
837:
583:
571:
570:. The circumstances of this visit, which was supplemented by a few days in
494:
455:
312:
284:
115:
2710:
2614:
2296:
The Lives of the Most Eminent British Painters, Sculptors, and Architects
2020:
John Caldwell; Oswaldo Rodriguez Roque; Dale T. Johnson (March 1, 1994).
1853:
The Lives of the Most Eminent British Painters, Sculptors, and Architects
1525:
750:
684:
407:
381:
232:
224:
2884:
582:
in 1914, it appears that in 1768 Copley painted in Boston a portrait of
463:
Europe for this porpase (of self-improvement) for three or four years."
432:
Copley's fame was established in England by the exhibition, in 1766, of
2678:
Letters and Papers of John Singleton Copley and Henry Pelham, 1739–1776
2557:
1695:
985:
490:
288:
871:
overcome. Engravings from this work achieved an enduring popularity.
793:
603:
521:
321:
317:
293:
757:(whose family portrait he later painted) he extended his journey to
773:
280:
1447:
painting of Royall's daughters Mary and Elizabeth Royall by Copley
3011:
The Defeat of the Floating Batteries at Gibraltar, September 1782
2827:
801:
789:
758:
746:
599:
The Defeat of the Floating Batteries at Gibraltar, September 1782
272:
2812:
901:(1779–81), a key work in establishing Copley's reputation as a
867:
845:
785:
781:
741:
451:
403:
212:
103:
77:
2026:. Metropolitan Museum of Art. pp. 51–. GGKEY:5A107H6P5DU.
1882:
Hagood, Martha N.; Harrison, Jefferson C. (2005). "Foreword".
1851:
Allan Cunningham gives the date of his birth as July 3, 1737 (
1477:
Mrs. Alexander Cumming, née Elizabeth Goldthwaite, later Mrs.
996:
in 1791. His daughter Elizabeth was married in August 1800 to
930:
The Arrest of Five Members of the Commons by Charles the First
1067:
usually concerned loans made to him and frequently extended.
797:
777:
719:
710:
189:
1928:
Notable American Women, 1607–1950: A Biographical Dictionary
862:, its subject based on an incident related to the artist by
723:
714:
198:
2663:. Vol. 4. Charles Scribner's Sons. pp. 423–430.
2560:
Treasures from the Museum of New Zealand Te Papa Tongarewa
578:, London. From these letters and papers, published by the
2681:. The Massachusetts Historical Society. 1914 – via
2188:
A Revolution in Color: The World of John Singleton Copley
618:, is on horseback pointing to the rescue of the defeated
1126:, or who previously had not gone to exhibitions at all.
2408:. American Academy of Arts and Sciences. Archived from
1361:
Mrs. Theodore Atkinson, Jr. (Frances Deering Wentworth)
709:
On September 2, 1774, Copley chronicled his arrival at
673:
1105:
works then dispersed are now in American collections.
247:, the American painter, engraver, and cartographer.
2584:"Portrait of Mrs. Joshua Henshaw II (Catherine Hill)"
866:, who had been attacked by a shark while swimming in
186:
3179:
Fellows of the American Academy of Arts and Sciences
2334:
Not immediately, as related by Dunlap, v. I, p. 129.
980:'s portrait on December 5, 1782, after listening to
195:
192:
2285:. New York: Harper Collins Publishers, 2003. Print.
1975:
Domestic and Artistic Life of John Singleton Copley
1661:
Portrait of Mrs. Joshua Henshaw II (Catherine Hill)
938:
The Surrender of Admiral DeWindt to Lord Camperdown
538:. Their house was approximately on the site of the
183:
2694:
2613:
875:artist's fame as a historical painter was made by
543:told Dunlap that in 1771, being then a student at
1089:In June 1815, the Copleys entertained as visitor
726:; it is also the year of jubilee, or Holy Year."
3095:
2558:Museum of New Zealand Te Papa Tongarewa (2005).
2013:
1881:
519:in Boston; the latter, a New England woman of
2900:
2809:37 artworks by or after John Singleton Copley
558:aged nine, a future bibliophile and MP (1782)
2624:(online ed.). Oxford University Press.
1730:George Augustus Eliott, 1st Baron Heathfield
1019:at the top of the hill, and he sent his son
2715:John Singleton Copley in America, 1738–1774
2390:The Life and Works of John Singleton Copley
1062:Copley was chagrined by the failure of his
749:greatly interested him and in company with
2995:The Death of Major Peirson, 6 January 1781
2907:
2893:
2727:: CS1 maint: location missing publisher (
406:. He wrote, on September 30, 1762, to the
38:
2914:
2443:Lives of Lord Lyndhurst and Lord Brougham
2185:
1101:deficiency must, it is feared, remain."
1073:
1064:Equestrian Portrait of the Prince Regent
1040:
1002:
954:
891:
826:
728:
677:
592:
549:
489:
476:
465:
416:
386:
351:
298:
254:
19:For other people named John Copley, see
3149:Slave owners from the Thirteen Colonies
2880:Museum of New Zealand Te Papa Tongarewa
2834:, with 31 library catalogue records
2689:
2621:Oxford Dictionary of National Biography
2236:Such as Dunlap; see his vol. I, p. 121.
2190:. New York: W.W. Norton & Company.
2089:
2087:
2085:
2083:
2081:
2079:
2077:
2075:
2073:
2071:
1174:Jonathan Belcher's wife Abigail Belcher
1008:Hugh Montgomerie, 12th Earl of Eglinton
661:. Copley's family connections were all
227:. After becoming well-established as a
3144:American people of Anglo-Irish descent
3096:
2931:Portrait of Mrs. Theodore Atkinson Jr.
2765:
2644:
2611:
2069:
2067:
2065:
2063:
2061:
2059:
2057:
2055:
2053:
2051:
1855:, 1830–33, V, 162), but the published
3159:American Loyalists from Massachusetts
2888:
2866:Reynolda House Museum of American Art
2709:
2379:See his wife's letter, Amory, p. 301.
1921:
1083:National Portrait Gallery, Washington
1046:John, Second Viscount Dudley and Ward
994:American Academy of Arts and Sciences
328:, later to become a painter himself.
56:Winterthur Museum, Garden and Library
2854:John Singleton Copley's Works of Art
2766:Rebora, Carrie; et al. (1996).
2395:
2134:Dictionary of Painters and Engravers
674:Move to London and the European tour
347:
2742:
2145:"Copley-Pelham Letters", pp. 68–69.
2048:
1425:A 1769 portrait of Isaac Royall by
920:Hagar and Ishmael in the Wilderness
438:, which depicted his half-brother,
283:; his mother, of the Singletons of
13:
3189:19th-century American male artists
3174:People from colonial Massachusetts
3129:18th-century American male artists
2736:
2227:Letter to West, November 24, 1770.
761:. At Rome early in 1775 he copied
16:Anglo-American painter (1738–1815)
14:
3200:
2823:Royal Academy of Arts Collections
2802:
2671:– via the Internet Archive.
2588:Museo Nacional Thyssen-Bornemisza
2538:Museo Nacional Thyssen-Bornemisza
2534:"Portrait of Judge Martin Howard"
1268:Mrs. Daniel Sargent (Mary Turner)
1160:
976:over a ship in the background of
887:William Pitt, 1st Earl of Chatham
3070:John Copley, 1st Baron Lyndhurst
2987:The Death of the Earl of Chatham
2769:John Singleton Copley in America
2660:Dictionary of American Biography
2272:"Copley-Pelham Letters," p. 219.
2263:"Copley-Pelham Letters," p. 168.
2254:"Copley-Pelham Letters," p. 163.
1999:The Story of the Irish in Boston
1823:
1806:
1789:
1772:
1755:
1738:
1721:
1704:
1687:
1668:
1653:
1636:
1619:
1602:
1585:
1577:Portrait of Margaret Kemble Gage
1568:
1551:
1534:
1517:
1502:
1487:
1469:
1452:
1433:
1418:
1403:
1386:
1369:
1352:
1337:
1320:
1308:
1293:
1276:
1259:
1244:
1227:
1212:
1195:
1179:
1167:
898:The Death of the Earl of Chatham
878:The Death of the Earl of Chatham
580:Massachusetts Historical Society
260:Portrait of Ann Fairchild Bowler
241:John Copley, 1st Baron Lyndhurst
179:
157:John Copley, 1st Baron Lyndhurst
2576:
2551:
2526:
2496:
2484:
2475:
2466:
2457:
2448:
2436:
2427:
2382:
2373:
2364:
2355:
2346:
2337:
2328:
2319:
2310:
2301:
2288:
2275:
2266:
2257:
2248:
2239:
2230:
2221:
2212:
2179:
2170:
2157:
2148:
2139:
2126:
2123:"Copley-Pelham Letters", p. 26.
2117:
2114:"Copley-Pelham Letters", p. 33.
2108:
2105:"Copley-Pelham Letters", p. 23.
2099:
2045:"Copley-Pelham Letters", p. 51.
2039:
2030:
1461:Sir John Wentworth, 1st Baronet
638:several pictures attributed to
3139:19th-century American painters
3124:18th-century American painters
2508:National Postal Museum / Arago
2154:Not 1771, as stated by Dunlap.
2004:
1992:
1980:
1967:
1958:
1922:James, Edward T., ed. (1971).
1915:
1875:
1845:
616:General George Augustus Eliott
1:
2645:Coburn, Frederick W. (1930).
2605:
2562:. Te Papa Press. p. 47.
2510:. Smithsonian. Archived from
2504:"John Singleton Copley Issue"
1987:Notes Concerning Peter Pelham
1831:Colonel Fitch and his Sisters
1441:
1155:Portrait of the Copley family
885:of the former Prime Minister
836:(1778) depicts the rescue of
517:Honourable East India Company
304:Portrait of the Copley family
266:
217:Province of Massachusetts Bay
82:Province of Massachusetts Bay
48:
2939:A Boy with a Flying Squirrel
2638:UK public library membership
1888:University of Virginia Press
881:showing the collapse in the
820:and later at 25 George St.,
435:A Boy with a Flying Squirrel
422:A Boy with a Flying Squirrel
250:
21:John Copley (disambiguation)
7:
3114:People from colonial Boston
2717:. Cambridge, Massachusetts.
361:Kalamazoo Institute of Arts
231:of the wealthy in colonial
10:
3205:
3169:American portrait painters
3003:Portrait of Lord Mansfield
2777:Metropolitan Museum of Art
2361:Cunningham, v. IV, p. 145.
1951:– via Google Books.
1713:Portrait of Lord Mansfield
1036:
1021:John Singleton Copley, Jr.
961:The Death of Major Peirson
925:The Death of Major Peirson
688:, Americans in Rome (1775)
18:
3062:
3029:
2922:
1108:
1017:Massachusetts State House
916:Abraham Offering up Isaac
636:New Brunswick, New Jersey
162:
152:
144:
129:
121:
111:
92:
63:
37:
30:
3019:The Battle of Camperdown
2838:
2647:"Copley, John Singleton"
2298:, 1830–33, v. V, p. 167.
1838:
1798:The Battle of Camperdown
608:Great Siege of Gibraltar
398:, Boston, Massachusetts.
271:Copley's mother owned a
2947:Portrait of Thomas Gage
2856:at the Museum Syndicate
2849:National Gallery of Art
2745:"John Singleton Copley"
2186:Kamensky, Jane (2016).
1973:Amory, Martha Babcock.
1964:Dunlap, v. III, p. 323.
1862:Mass. Hist. Soc. Colls.
1560:Portrait of Thomas Gage
483:Portrait of Thomas Gage
3134:American male painters
3119:18th century in Boston
2971:Dr. Silvester Gardiner
1628:Dorothy Quincy Hancock
1315:Lydia Henchman Hancock
1086:
1049:
1011:
969:
934:The Siege of Gibraltar
910:studio such pieces as
906:
849:
737:
689:
627:
559:
530:extending down to the
498:
487:
474:
429:
399:
370:Mars, Venus and Vulcan
364:
357:Mars, Venus and Vulcan
307:
263:
2963:Mrs Humphrey Devereux
2916:John Singleton Copley
2875:Mrs Humphrey Devereux
2845:John Singleton Copley
2828:John Singleton Copley
2819:John Singleton Copley
2697:John Singleton Copley
2691:Flexner, James Thomas
2630:10.1093/ref:odnb/6271
2612:Staiti, Paul (2004).
2370:Dunlap, v. I, p. 142.
2307:Dunlap, v. I, p. 129.
2245:Dunlap, v. I, p. 121.
2218:Dunlap, v. I, p. 120.
1870:John Singleton Copley
1543:Mrs Humphrey Devereux
1427:John Singleton Copley
1143:Copley Township, Ohio
1141:bear his name, as do
1077:
1044:
1006:
958:
895:
830:
732:
681:
612:Governor of Gibraltar
596:
553:
540:Appleton–Parker House
493:
480:
469:
420:
390:
355:
302:
258:
221:Mary Singleton Copley
176:John Singleton Copley
168:Mary Singleton Copley
32:John Singleton Copley
3154:Painters from Boston
2979:Watson and the Shark
1764:Colonel George Lewis
1097:in Croydon, Surrey.
912:The Red Cross Knight
859:Watson and the Shark
833:Watson and the Shark
576:Public Record Office
511:Clarke, daughter of
471:The Fountaine Family
412:Jean-Étienne Liotard
376:, acknowledged from
243:and half-brother of
137:Watson and the Shark
3049:Copley Square Hotel
2832:Library of Congress
2415:on October 31, 2014
2294:Cunningham, Allan.
2163:Allen Chamberlain,
1747:Earl of Bessborough
1411:Judge Martin Howard
1135:Copley Square Hotel
768:on commission from
670:family murthered."
166:Richard Copley and
3164:Royal Academicians
2711:Prown, Jules David
2283:Art: A New History
1510:Portrait of a Lady
1495:Ezekiel Goldthwait
1345:Mrs. George Watson
1186:1st Chief Justice
1087:
1050:
1012:
970:
907:
850:
738:
690:
628:
560:
499:
488:
475:
430:
400:
365:
308:
264:
3091:
3090:
2636:(Subscription or
2388:Bayley, Frank W.
2197:978-0-393-60861-8
1897:978-0-940744-71-4
1395:Nicholas Boylston
1301:Mrs. Epes Sargent
1252:Mrs. James Warren
1091:John Quincy Adams
990:John Quincy Adams
974:Stars and Stripes
536:enslaved servants
348:Rising reputation
237:history paintings
219:, to Richard and
173:
172:
96:September 9, 1815
3196:
3184:History painters
2955:Mrs. Thomas Gage
2909:
2902:
2895:
2886:
2885:
2870:
2798:
2774:
2762:
2761:on May 17, 2013.
2757:. Archived from
2732:
2726:
2718:
2706:
2703:Houghton Mifflin
2700:
2686:
2683:Internet Archive
2672:
2641:
2633:
2617:
2599:
2598:
2596:
2594:
2580:
2574:
2573:
2555:
2549:
2548:
2546:
2544:
2530:
2524:
2523:
2521:
2519:
2514:on March 1, 2016
2500:
2494:
2488:
2482:
2479:
2473:
2470:
2464:
2461:
2455:
2452:
2446:
2440:
2434:
2431:
2425:
2424:
2422:
2420:
2414:
2407:
2399:
2393:
2386:
2380:
2377:
2371:
2368:
2362:
2359:
2353:
2350:
2344:
2341:
2335:
2332:
2326:
2323:
2317:
2314:
2308:
2305:
2299:
2292:
2286:
2279:
2273:
2270:
2264:
2261:
2255:
2252:
2246:
2243:
2237:
2234:
2228:
2225:
2219:
2216:
2210:
2209:
2183:
2177:
2174:
2168:
2161:
2155:
2152:
2146:
2143:
2137:
2130:
2124:
2121:
2115:
2112:
2106:
2103:
2097:
2091:
2046:
2043:
2037:
2034:
2028:
2027:
2017:
2011:
2010:Whitmore, p. 29.
2008:
2002:
1996:
1990:
1984:
1978:
1971:
1965:
1962:
1956:
1955:
1950:
1948:
1919:
1913:
1912:
1879:
1873:
1849:
1827:
1810:
1793:
1776:
1759:
1742:
1725:
1708:
1691:
1672:
1657:
1640:
1623:
1606:
1589:
1572:
1555:
1538:
1521:
1506:
1491:
1473:
1456:
1446:
1443:
1437:
1422:
1407:
1390:
1373:
1356:
1341:
1324:
1312:
1297:
1280:
1263:
1248:
1231:
1216:
1199:
1188:Jonathan Belcher
1183:
1171:
966:Battle of Jersey
946:The Resurrection
818:Leicester Fields
704:Gov'r Hutchinson
695:history painting
659:Boston Tea Party
392:Statue of Copley
229:portrait painter
210:
205:
204:
201:
200:
197:
194:
191:
188:
185:
132:
99:
73:
71:
53:
50:
42:
28:
27:
3204:
3203:
3199:
3198:
3197:
3195:
3194:
3193:
3094:
3093:
3092:
3087:
3058:
3025:
2918:
2913:
2868:
2841:
2805:
2787:
2772:
2739:
2737:Further reading
2720:
2719:
2675:
2635:
2608:
2603:
2602:
2592:
2590:
2582:
2581:
2577:
2570:
2556:
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2542:
2540:
2532:
2531:
2527:
2517:
2515:
2502:
2501:
2497:
2489:
2485:
2480:
2476:
2471:
2467:
2462:
2458:
2453:
2449:
2441:
2437:
2432:
2428:
2418:
2416:
2412:
2405:
2401:
2400:
2396:
2392:, 1915, p. 255.
2387:
2383:
2378:
2374:
2369:
2365:
2360:
2356:
2351:
2347:
2342:
2338:
2333:
2329:
2324:
2320:
2315:
2311:
2306:
2302:
2293:
2289:
2281:Johnson, Paul.
2280:
2276:
2271:
2267:
2262:
2258:
2253:
2249:
2244:
2240:
2235:
2231:
2226:
2222:
2217:
2213:
2198:
2184:
2180:
2175:
2171:
2162:
2158:
2153:
2149:
2144:
2140:
2131:
2127:
2122:
2118:
2113:
2109:
2104:
2100:
2092:
2049:
2044:
2040:
2035:
2031:
2018:
2014:
2009:
2005:
2001:, 1889, p. 190.
1997:
1993:
1985:
1981:
1972:
1968:
1963:
1959:
1946:
1944:
1942:
1920:
1916:
1898:
1880:
1876:
1850:
1846:
1841:
1834:
1828:
1819:
1811:
1802:
1794:
1785:
1781:Henry Addington
1777:
1768:
1760:
1751:
1743:
1734:
1726:
1717:
1709:
1700:
1692:
1683:
1673:
1664:
1658:
1649:
1641:
1632:
1624:
1615:
1607:
1598:
1590:
1581:
1573:
1564:
1556:
1547:
1539:
1530:
1522:
1513:
1507:
1498:
1492:
1483:
1474:
1465:
1457:
1448:
1444:
1438:
1429:
1423:
1414:
1408:
1399:
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1285:Mrs. John Amory
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1220:Head of a Negro
1217:
1208:
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1191:
1184:
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1163:
1120:William Harnett
1116:Fitz Henry Lane
1111:
1095:Croydon Minster
1054:Napoleonic Wars
1039:
1025:Lord Chancellor
998:Gardiner Greene
903:history painter
699:Joshua Reynolds
676:
648:Henry Benbridge
622:sailors by the
586:, president of
545:Harvard College
350:
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3078:(half-brother)
3073:
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3057:
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3054:Mercury crater
3051:
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2871:
2864:(1763) at the
2857:
2851:
2840:
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2804:
2803:External links
2801:
2800:
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2763:
2743:Floryan, Meg.
2738:
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2734:
2733:
2707:
2687:
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2642:
2607:
2604:
2601:
2600:
2575:
2568:
2550:
2525:
2495:
2483:
2481:Amory, p. 304.
2474:
2472:Amory, p. 301.
2465:
2463:Amory, p. 300.
2456:
2454:Amory, p. 176.
2447:
2435:
2433:Amory, p. 144.
2426:
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2029:
2012:
2003:
1991:
1979:
1966:
1957:
1940:
1934:. p. 44.
1924:"Pelham, Mary"
1914:
1896:
1890:. p. 20.
1874:
1857:Boston Records
1843:
1842:
1840:
1837:
1836:
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1829:
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1680:(Sarah Morris)
1678:Thomas Mifflin
1674:
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1625:
1618:
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1611:John Montresor
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1378:Nathaniel Hurd
1375:
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1329:Thomas Hancock
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1162:
1161:Selected works
1159:
1110:
1107:
1038:
1035:
978:Elkanah Watson
964:, in the 1781
883:House of Lords
822:Hanover Square
770:Lord Grosvenor
755:South Carolina
675:
672:
588:King's College
444:John and Sukey
374:Port of Quebec
349:
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342:British Museum
334:Lord Lyndhurst
287:, a family of
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100:(aged 77)
94:
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3037:Copley Square
3035:
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2786:0-87099-744-0
2782:
2778:
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2661:
2656:
2655:Malone, Dumas
2652:
2648:
2643:
2639:
2631:
2627:
2623:
2622:
2616:
2615:"John Copley"
2610:
2609:
2589:
2585:
2579:
2571:
2569:1-877385-12-3
2565:
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2439:
2430:
2411:
2404:
2398:
2391:
2385:
2376:
2367:
2358:
2352:Amory, p. 79.
2349:
2343:Amory, p. 76.
2340:
2331:
2325:Amory, p. 99.
2322:
2316:Amory, p. 44.
2313:
2304:
2297:
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2284:
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2042:
2033:
2025:
2024:
2016:
2007:
2000:
1995:
1989:, 1867, p. 13
1988:
1983:
1977:, 1882, p. 4.
1976:
1970:
1961:
1954:
1943:
1941:0-674-62734-2
1937:
1933:
1932:Belknap Press
1929:
1925:
1918:
1911:
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1676:Mr. and Mrs.
1671:
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1136:
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1131:Copley Square
1127:
1125:
1124:Royal Academy
1121:
1117:
1106:
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1098:
1096:
1092:
1084:
1080:
1079:Henry Laurens
1076:
1072:
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1059:Lord Campbell
1055:
1048:(before 1788)
1047:
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861:
860:
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843:
839:
835:
834:
829:
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823:
819:
815:
814:the Continent
811:
807:
806:Low Countries
803:
799:
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791:
787:
783:
779:
775:
771:
767:
764:
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748:
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735:
731:
727:
725:
721:
716:
712:
707:
705:
700:
696:
687:
686:
683:Mr. and Mrs.
680:
671:
668:
664:
660:
655:
651:
649:
645:
641:
637:
633:
632:William Allen
625:
621:
617:
613:
609:
605:
601:
600:
595:
591:
589:
585:
581:
577:
573:
569:
568:New York City
564:
557:
556:Richard Heber
552:
548:
546:
541:
537:
533:
532:Charles River
529:
524:
523:
518:
514:
508:
505:
496:
492:
485:
484:
479:
472:
468:
464:
461:
457:
453:
449:
448:Benjamin West
445:
441:
437:
436:
427:
423:
419:
415:
413:
409:
405:
397:
396:Copley Square
393:
389:
385:
383:
379:
375:
371:
362:
358:
354:
345:
343:
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338:Benjamin West
335:
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286:
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278:
274:
261:
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169:
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148:Susanna Clark
147:
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134:
128:
124:
120:
117:
114:
110:
105:
95:
91:
87:
83:
79:
66:
62:
57:
46:
45:Self-Portrait
41:
36:
29:
26:
22:
3084:(stepfather)
3082:Peter Pelham
3076:Henry Pelham
3017:
3009:
3001:
2993:
2985:
2982:(1778, 1782)
2977:
2969:
2961:
2953:
2945:
2937:
2929:
2915:
2874:
2861:John Spooner
2860:
2811: at the
2775:. New York:
2768:
2759:the original
2755:Khan Academy
2750:Smarthistory
2748:
2714:
2696:
2677:
2658:
2619:
2593:December 21,
2591:. Retrieved
2587:
2578:
2559:
2553:
2543:December 21,
2541:. Retrieved
2537:
2528:
2516:. Retrieved
2512:the original
2507:
2498:
2490:
2486:
2477:
2468:
2459:
2450:
2442:
2438:
2429:
2417:. Retrieved
2410:the original
2397:
2389:
2384:
2375:
2366:
2357:
2348:
2339:
2330:
2321:
2312:
2303:
2295:
2290:
2282:
2277:
2268:
2259:
2250:
2241:
2232:
2223:
2214:
2187:
2181:
2176:Amory, p. 24
2172:
2167:, pp. 50–96.
2164:
2159:
2150:
2141:
2133:
2128:
2119:
2110:
2101:
2093:
2041:
2036:Amory, p. 9.
2032:
2022:
2015:
2006:
1998:
1994:
1986:
1982:
1974:
1969:
1960:
1952:
1945:. Retrieved
1927:
1917:
1909:
1883:
1877:
1869:
1865:
1861:
1856:
1852:
1847:
1830:
1815:Earl Spencer
1813:
1796:
1779:
1762:
1745:
1728:
1711:
1694:
1675:
1660:
1645:Samuel Adams
1643:
1626:
1609:
1594:John Hancock
1592:
1575:
1558:
1541:
1524:
1509:
1476:
1459:
1426:
1410:
1393:
1376:
1359:
1344:
1327:
1300:
1283:
1266:
1251:
1236:James Warren
1234:
1219:
1204:Epes Sargent
1202:
1154:
1139:Copley Plaza
1128:
1112:
1103:
1099:
1088:
1069:
1063:
1051:
1045:
1029:
1013:
971:
959:
950:
945:
941:
937:
933:
929:
923:
919:
915:
911:
908:
896:
876:
873:
864:Brook Watson
857:
855:
851:
842:shark attack
838:Brook Watson
831:
765:
739:
733:
708:
691:
682:
656:
652:
629:
597:
584:Myles Cooper
572:Philadelphia
565:
561:
554:Portrait of
520:
509:
500:
495:Myles Cooper
481:
470:
456:Pennsylvania
443:
440:Henry Pelham
433:
431:
426:Henry Pelham
421:
401:
369:
366:
356:
330:
313:Peter Pelham
309:
303:
285:County Clare
270:
259:
245:Henry Pelham
175:
174:
135:
131:Notable work
116:Peter Pelham
98:(1815-09-09)
74:July 3, 1738
44:
25:
3109:1815 deaths
3104:1738 births
2165:Beacon Hill
1526:Paul Revere
1445: 1758
1030:Beacon Hill
763:Correggio's
751:Ralph Izard
685:Ralph Izard
606:during the
528:Beacon Hill
382:Nova Scotia
294:West Indies
233:New England
225:Anglo-Irish
125:Portraiture
52: 1769
3098:Categories
2869:(archived)
2701:. Boston:
2669:1042947934
2640:required.)
2606:References
1696:John Adams
1479:John Bacon
1149:crater on
986:John Adams
982:George III
810:Marblehead
804:, and the
766:St. Jerome
404:pastellist
289:Lancashire
277:Long Wharf
267:Early life
70:1738-07-03
58:, Delaware
2934:(c. 1765)
2923:Paintings
2795:893698651
2723:cite book
2206:960638684
1906:886269245
1580:(c. 1771)
1482:(ca 1770)
1381:(1765–66)
1347:(c. 1765)
1332:(1764–66)
1288:(c. 1763)
1254:(c. 1763)
1129:Boston's
794:Stuttgart
734:Ascension
663:Loyalists
604:Gibraltar
522:Mayflower
318:mezzotint
251:Biography
163:Parent(s)
112:Education
106:, England
2713:(1966).
2693:(1948).
2657:(eds.).
2518:March 1,
2419:July 28,
1818:, c.1800
1716:, (1783)
1157:(1776).
1081:(1782) (
774:Florence
667:patriots
640:van Dyck
428:) (1765)
410:painter
359:(1754) (
322:japanner
281:Limerick
275:shop on
153:Children
3063:Related
2847:at the
2821:at the
2445:, 1869.
2136:(1898).
1947:July 6,
1833:, 1801
1663:c. 1772
1190:(1754),
1151:Mercury
1037:Decline
848:, Cuba.
840:from a
802:Cologne
790:Trieste
759:Paestum
747:Pompeii
624:British
620:Spanish
513:Richard
504:Guineas
378:Halifax
326:William
273:tobacco
223:, both
3042:statue
3030:Legacy
3022:(1799)
3014:(1791)
3006:(1783)
2998:(1783)
2990:(1781)
2974:(1772)
2966:(1771)
2958:(1771)
2950:(1768)
2942:(1765)
2813:Art UK
2793:
2783:
2667:
2634:
2566:
2204:
2194:
1938:
1904:
1894:
1801:(1799)
1784:(1798)
1767:(1794)
1750:, 1790
1733:(1787)
1699:(1783)
1682:(1773)
1648:(1772)
1631:(1772)
1614:, 1771
1597:(1765)
1563:(1768)
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