Paintings of 18th-Century American Families

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1729 John Smibert (American colonial era artist, 1688-1751). The Bermuda Group

Family portraits are rare in early 18th century British colonial America, perhaps because they were expensive & usually so large, that they required a sizable public parlor for display. Most 18th-century colonial American houses were not spacious. Family portraits are also much more complicated for the artist, and there were few artists available in colonial America early in the century. But the incidence of family portraits grew, as the number of painters & spaces in homes also grew.

1741 Robert Feke (American colonial era artist, 1707-1751). Family of Isaac Royall.

Some gentlemen had family portraits painted as a sign of wealth & as a factor in gaining respect & power in the new world. The painting announced that they were important, entitled to be the natural leader in the new society. Other family paintings commemorated a specific event. Most were not painted to be tucked away for private family contemplation, but to act as a public icon or an emblematic memory for an audience larger than the immediate family. The composition of family paintings was changing throughout the 18th-century as well.

1747 John Greenwood (American colonial era artist, 1727-1792). The Greenwood-Lee Family

The concept of family was evolving as emerging Enlightenment ideas began to impact everyday domestic life & family values in colonial America. Slowly throughout the century, the strict partriarchal family concept was beginning to change. English philosopher John Locke (1632-1704) implied that women should have greater authority in the family & the home. In portraits, artists began to display the woman on nearly the same level as the husband.

1750 John Wollaston (American colonial era artist, 1710-1775). Family Group

Artists began to feel that they could portray married couples as congenial companions. Painters began to portray men participating more in the rearing of their children, they were no longer just expected to be distant strict disciplinarians. Americans were beginning to believe that children needed to be loved & to play. The individual was also becoming more important in 18th-century America. Artists often used props to signify something about the talents, skills, & identities of individuals within these families. In one way or another, each of the following portraits reflects changing patriarchial values, gender relations, attitudes towards women & children, and the growing democratization of American society. But we still remember that women did not receive the right to vote in the United States until 1920.

1755 Joseph Blackburn (American colonial era artist, fl 1753-1763). Isaac Winslow and His Family

NB For this posting I have excluded portraits of children only. Smibert's Bermuda Group and Copley's family portrait were executed immediately before or after the artist entered or exited the American colonial experience. They are so good, I just couldn't resist stretching the boundries to include them.

1763-65 Henry Benbridge (American colonial era artist, 1743-1812). Gordon Family (Including his stepfather & mother Mary Clark Benbridge Gordon)

1770 Henry Benbridge (American colonial era artist, 1743-1812). The Tannatt Family

1771 Charles Willson Peale (American colonial era artist, 1741-1827). Edward Lloyd Family with wife Elizabeth Tayloe and daughter Anne.

1771 William Williams (American colonial era artist, 1727-1791). The Wiley Family.

1771-73 Charles Willson Peale (American colonial era artist, 1741-1827). The Peale Family.

1772 William Williams (American colonial era artist, 1727-1791). The William Denning Family

1775 Henry Benbridge (American colonial era artist, 1743-1812). The Archibald Bulloch Family.

1776 John Singleton Copley (American-born artist, 1738-1815). The Copley Family.

1779 Edward Savage (American artist, 1761-1817). The Savage Family.

1779 Henry Benbridge (American artist, 1743-1812). The Enoch Edwards Family.

1785 Robert Edge Pine (American artist, 1720-30-1788). Alexander Contee Hanson, Sr. and Family.

1787 Henry Benbridge (American artist, 1743-1812). The Hartley Family.

1788 Johannes Eckstein (American artist, 1736-1817) The Samels Family

1789 Charles Willson Peale (American artist, 1741-1827). Robert Goldsborough & Family.

1789 Edward Savage (American artist, 1761-1817). The George Washington Family.

1790 John Brewster Jr. (American painter, 1766-1854) Morgan Family Portrait

1793 Joseph Wright (American artist, 1756-1793). The Wright Family (Joseph & Sarah with children Harriet, Sarah, & Joseph).

1795 James Peale (American artist, 1749-1831). The Artist & His Family.

c 1795 John Brewster Jr. (American painter, 1766-1854) Deacon Eliphaz Thayer and His Wife, Deliverance

1795 Unknown Artist. The Cheney Family.

1790s Josè Francisco Xavier de Salazar y Mendoza (Mexican-born Louisiana artist, 1750–1802) Family of Don Antonio Mendez (1750-1829)

1796 Jonathan Budington (American artist, 1766-1854). Portrait of George Eliot and Family.

1796 Ralph Earl (American artist, 1751-1801) The Nickerson Family

1798 John Ritto Penniman (American painter, 1782–1841) Family Group

1798 Ralph Earl (American artist, 1751-1801). Mrs. Noah Smith and Her Children.

1790s Josè Francisco Xavier de Salazar y Mendoza (Mexican-born Louisiana artist, 1750–1802) Family of Dr. Joseph Montegut

1800 Joshua Johnson (American artist, c.1763–1832). Family Group.
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Tornados & Whirlwinds - Reading Outdoors in 18th-Century America

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Well, it has been a glorious day, until the weather turned to tornado warnings about an hour ago. By the way, I had suspected that tornados were usually called whirwinds in 18th-century America. As one man wrote in the 1739 Boston Newsletter, "...we had a violent Whirlwind or Tornado (as some all it)." But when I searched, I found mention of 851 torandos in American newspapers from 1733 to 1800. Whirlwinds were noted in the same newspapers 1054 times between 1719 and 1800. I was surprised.

The 1st time the English word "tornado" appeared in print was in Richard Hakluyt's (c 1552-1616) Principall Navigations, Voiages, and Discoveries in 1589, when W Towerson noted, "We had terrible thunder and lightening, with exceeding gusts of raine, called a Ternado." The term "whirlwind" had been used in print since 1340.

Well, anyway, before the high winds and storms, it would have been the perfect day here in the Chesapeake for reading outdoors. Here are a few 18th-century American ladies doing just that.

1750 Joseph Badger (American Colonial Era artist, 1798-1765) Mrs. Nathaniel Brown (Anna Porter Brown)

1750-1760 Joseph Badger (American Colonial Era artist, 1798-1765)Mrs. John Edwards (Abigail Fowle)

1755 Benjamin West (American colonial era artist, 1738-1820). Mrs Geo Ross Anne Lawler Franklin & Marshall

1764 John Singleton Copley (American Colonial Era artist, 1738-1815) detail Mary Greene Mrs Dan Hubbard

1767 James Claypoole, Jr. (American Colonial Era artist, 1743-1814) Ann Galloway Mrs Joseph Pemberton Phil Acad of Arts

1789 Ralph Earl (American artist, 1751-1801) Esther Boardman

1789-1795 George William West (American artist, 1770-1795) Sybil West Holland Mrs Francis Utie Holland

1793 James Peale (American artist, 1749-1831) Ramsey Polk Family in Cecil County MD

1798 William Clarke (American painter, fl. 1785-1806) ) Mrs William Frazer Delaware
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Birds in 18th-Century American Paintings & Gardens

.1745 Joseph Badger (1708-1765). Detail of John Gerry (1741-1786) brother of Elbridge Gerry of Boston with bird.
We have just put up & filled our birdfeeders around the house. The birds & the squirrels are fighting each other for space on the perches. They are causing such relentless bird commotion, that I suppose I should tackle one of my most elusive garden/bird/art issues, birds & aviaries early American gardens. Easier said than done.
1719 Nehemiah Partridge (1683-1737) Detail Catheine Ten Broeck with Bird.

We know that native North American birds fascinated men & women alike in 18th century British American colonies. Colonials certainly had cages for their birds. An aviary is an enclosed area, often in a garden & larger than a traditional birdcage, meant for keeping, feeding, and hopefully breeding birds.
1725 Charles Bridges (1670-1747). Detail of William Byrd II & Lucy Parke daughter Evelyn Byrd and a bird in the tree.

Mark Catesby (1682-1749) sailed to Virginia in 1712, and stayed in the British Atlantic colonies for 7 years, sketching and compiling The Natural History of Carolina, Florida, and the Bahama Islands for publication upon his return to England. In his monumental work, he described birds he had seen in the colonies in cages. (Thomas Jefferson had a copy of Catesby's History in his library.)
1730 Pieter Vanderlyn (1687-1778). Detail Paul de Wandelaer with bird.

Between 1739 and 1762, South Carolinian Eliza Lucas Pinckney (c 1722-1793) kept a letterbook in which she wrote, "Airry Chorristers pour forth their melody...the mocking bird...inchanted me with his harmony." By this time, enterprising Southerners caged red birds and even exported cages of mockingbirds to England.

The New York Journal published a poem of a woman imagining her ideal garden entitled A Wish of a Lady in 1769.
"...Just under my window I'd fancy a lawn,
Where delicate shrubs shou'd be planted with taste,
And none of my ground be seen running to waste.

Instead of Italians, the Linnet and Thrush
Wou'd with harmony greet me from every bush;
Those gay feather'd songsters do rapture inspire!
What music so soft as the heav'nly choir..."
1733 Gerardus Duyckinck (1695-1746). Detail David and Phila Franks with bird.

And 18th-century portrait painters in America depicted men, women, & children with birds from the beginning of the century to the end. The question is whether the birds are being used as symbols or are actually birds that they might have owned.

Birds were kept as pets around Charleston, South Carolina, when an ad in the South-Carolina Gazette in January of 1753 noted, "ANY Persons willing to try the cultivation of Flax and Hemp in this province, may have gratis a pint of Hemp Seed, and half a pint of Flax Seed, at Mr. Commissary Dart's store in Tradd-Street.—But it's hoped ladies will not send for any Hemp Seed for birds."
1755 John Wollaston (1710-1775). Detail Elizabeth Page & Mann Page, children of Mann & Ann Corbin (Tayloe) Page of Rosewell, Gloucester County, with bird.
In February of 1768, James Drummond announced in Charleston's The South Carolina and American General Gazette that he had "just imported...from L(ondon), a large and compleat (Assortment) of GOODS, Among which are the following... men and womens white Italian gloves... corks, an sortment of watchmaker's tools...a bird cage."1755 Joseph Badger 1708-1765). Detail of Elizabeth Gould with bird.

James McCall advertised in the 1771 South Carolina Gazette and Country Journal the he had "just received...a great Variety of Garden Seeds, Pease and Beans; Hemp, Canary, Rape, and Moss Seed for Birds."
1758 John Singleton Copley (1738-1815). Detail Anne Fairchild (Mrs. Metcal Bowler) with bird in birdcage.

In 1772, the South-Carolina Gazette carried an ad for a plantation to be rented "on the Ashley River near Charleston" with "two well-contrived aviaries." A year later, the same paper noted a lot in Charlestown which contained, "a very good Two-Story Birds House."

1758 John Singleton Copley (1738-1815). Detail Thomas Aston Coffin with two birds.

Baroness Von Riedesel traveling through the southern colonies with her officer husband during the Revolution wrote, "I had brought two gorgeous birds with me from Virginia. The main bird was scarlet with a darker red tuft of feathers on his head, about the size of a bull-finch, and it sang magnificently. The female bird was gray with a red breast and also had a tuft of feathers on its head."
American Painting 1760 Joseph Badger (1708-1765). James Badger with bird.
The Baroness continued, "They are very tame soon after they are caught and eat out of one's hand. These birds live a long time, but if two male birds are hung in the same room they are so jealous of each other that one of them dies soon afterwards."

American Painting 1760 Joseph Badger (1708 - 1765). Detail of Jemima Flucker with bird.
She related that she, "saw black birds in Virginia of the same size, which always cry 'willow.' This amused us very much because one of my husband's aides was named Willoe."
American Painting 1763-65 Henry Benbridge (1743-1812). Detail of Gordon Family with bird.
The Baroness stated, "One of my servants discovered a whole nest of these red birds and fed and raised them. Knowing how much I loved them, he left Colle with two cages full on his back, but they all died before he reached me, much to our sorrow."American Painting 1766-67 John Singleton Copley (1738-1815). Detail of Mary Boylston (Mrs Benjamin Hallowell) with bird.

William Faris (1728-1804) was a silversmith & clockmaker living in Annapolis, Maryland, for over 50 years. He kept journals & a diary of his life there, on & off, during the last quarter of the 18th century. On October 25, 1793, Faris noted, "Last night the 2 yallow Birds died." Earlier, he had written that his "poor Mocking Bird" had died. Although these are the only references to birds in the diary he kept during the 1790s, his 1804 inventory listed eleven bird cages.

Although it is difficult to find descriptions of 18th century aviaries in the British American colonies, we find the the books flowing into the colonies from England were replete with references to aviaries and descriptions of them.
American Painting 1766 John Singleton Copley (1738-1815). Detail of Elizabeth Ross (Mrs. William Tyng) with bird.

We know for a fact that Francis Bacon (1561-1626), English philosopher, statesman, scientist, lawyer, jurist, & author, did not like aviaries, or so he wrote in his 1625 Essayes or Counsels, Civill and Morall in the essay entitled Of Gardens. "For Aviaries, I like them not, except they be of that largeness as they may be turfed, and have living plants and bushes set in them; that the birds may have more scope and natural nestling, and that no foulness appear in the floor of the aviary."
One of England's earliest agricultural writers, John Worlidge's (1640-1700) Systema Horticulturae published in 1677, noted that, "One of the pleasures belonging to a Garden, is an Aviary, which must be near your house, that you may take some delight in it there, as well as in your Garden, and that you may in all seasons take care of its Inhabitants."

Actually, Worlidge dreamed of "an Aviary at large, that the whole Garden with its Groves and Avenues may be full of these pretty Singers, that they may with their charming Notes, rouze up our dull Spirits, that are too intent upon the Cares of this World, and mind us of the Providence, the great God of the Universe hath over us, as well as these Creatures."
American Painting 1770-1775 James Peale (1749-1831). Girl with bird.

In 1701, when Charles Smith (1715-1762) published his Ancient and Present State of the County and City of Cork, he noted that "also nearer Cork Mr. John Dennis Merchant has a good house and neat gardens with an aviary, the gardens afford a fine view of the harbour and opposite country."
American Painting 1770 Daniel Hendrickson (1723-1788). Detail of Catharine Hendrickson surrounded by birds.
The most widely read 18th-century gardening writer & the chief gardener at the Chelsea Physic Garden, Philip Miller's (1691-1771) The Gardeners and Florists Dictionary of 1724, noted that "Mr. J. B. The Author of the Hereford/hire Orchards enumerates the Benefits of Orchards, that besides their Profit, they sweeten and purify the ambient Air, and by that Means, he thinks, conduce to the Health...and afford Shade and Shelter in the Heat of Summer, but harbour a constant Aviary of sweet Singers without Wires."

Philip Miller was widely read throughout the British American colonies. His Dictionary was owned by Benjamin Franklin, Lady Jean Skipwith of Virginia, and Thomas Jefferson.
American Painting 1770s Charles Willson Peale (1741-1827). Detail Mary Tilghman & sons with bluejay.

By 1733, garden designer & writer and an early exponent of the English style landscape garden, Stephen Switzer (1682-1745) was instructing his readers on aviaries in his Practical Husbandman and Planter. In the month of June he wrote that the aviary requires the "Assistance of the Person who looks after it, by the bruising and Emulsion of the cool Seeds of Melon and Cucumbers, in their watering Pans; as also, by the giving of them the leaves of Succory, Beets...and fresh Gravel and Earth, to cure them of their Sicknefs in Moulting-Time, being now sick of their old Feathers. And now young Partridges, Indian Hens, Pheasants, Partridges, &c. begin to require a little looking after to preserve them from the griping Hawk, constantly digging up of Ant-hills for the Pecking and Support of the little chirping Brood."American Painting 1774 Charles Willson Peale (1741 - 1827). Detail of The Johnson Brothers with bird.

One of the classic books in Thomas Jefferson's library, The Builder's Dictionary: or, Gentleman and Architect's Companion explained in 1734, that an avairy was a "House or Apartment for the keeping, feeding, and breeding of Birds." The book covers all aspects of building design, construction, and finishes. In its time, the Dictionary was considered the most complete summary available for use by English architects and members of the construction trades. Thomas Jefferson, who was constantly coming up with new designs for his house and garden at Monticello, owned a copy of The Builder's Dictionary.
American Painting 1788 Charles Willson Peale (1741-1827). Detail of Mrs. Richard Gittings with bird in cage.
In 1721, Richard Bradley, a Fellow of the Royal Society since 1712, and about to become Professor of Botany at Cambridge University, wrote a treatise, New Improvements in Planting and Gardening both Philosophical and Practical. Bradley's work New Improvements... also noted that orchards "harbour a constant Aviary of sweet Singers, which are here retained without the Charge or Violence of the Italian Wires." (Thomas Jefferson also owned a copy of Bradley's New Improvements.)American Painting 1790 Denison Limner Probably Joseph Steward (1753-1822). Detail of Miss Denison of Stonington, CN possibly Matilda with bird and squirrel.

William Derham (1657-1735), was an Anglican clergyman, Canon of Windsor Castle, & natural philosopher. He was the first man known to measure the speed of sound. As a member of the Royal Society, he edited the correspondence between Eleasar Albin (1708-1742) & John Ray helping publish a Natural History of Birds which was illustrated by Albin between 1731-38, and which noted the Gamboa Grossbeake. "This Bird was brought from Gamboa on the Coast of Guinea and was in the Possession of his Grace the Duke of Chandos in an Aviary at his Grace's Country Seat at Edgeworth," where Albin went to draw it.
American Painting 1790 John Brewster (1766-1854). Detail of Boy with Bird.

In 1732, French priest Noel Antoine Pluche's (1688-1761) juvenile edition of Spectacle de la Nature, Or Nature Display'd extoled the joys of communing with the birds in an aviary. Although the book influenced many to become naturalists, it was a work of popularization, not of science.

In the book, the Duchess character explains that in the "Bower which the Count has inclosed with a Lattice of Brass Wire. I think I have seen, in this charming Aviary, all imaginable Sorts of little Birds, as well as those of a middling Size... this Aviary boafts a little of my Invention, and I commonly undertake the Management of it; but my Pains are requited by Pleasures that vary every Day. The Contentions of these little Creatures, their Endearments, their Melody, and Labours, and the obliging Civilities I receive from the Generality, when I pay them a Visit, are extremely entertaining to me. I carry my Work to them, and am never alone. One may pass whole Hours and Afternoons there."
American Painting 1790 Rufus Hathaway (1770 - 1822). Detail of Molly Wales Fobes with Birds.

In the 1760 Short Account, of the Principal Seats and Gardens, in and about Twickenham, woman writer Joel Henrietta Pye (Jael Henrietta Mendez Pye) (1737-1782) tells of The Earl of Lincoln's Seat. "About a Mile beyond Weybridge, situated in the midst of a noble Park. The Gardens contain 150 Acres, and are divided by a fine Canal. The whole is laid out in the modern Taste, of Flowering Shrubs, Lawns, Clumps &c... In Part of it there is a beautiful Menagerie, and between the Habitation of each particular Fowl, a Plantation of the finest Flowers, which, when in full blow, perfume the Air at a considerable Distance. Beyond that, is a fine Green-House, piled up with Oranges and various Exotics; behind which is an Aviary of every kind of Singing-Birds, who are, so concealed by the Trees, that tho' they fillthfe Garden with their Harmony, it is impossible to discover whence it proceeds."
American Painting 1790s James Earl (1749-1831). Detail of Boy with Cardinal.

Christopher Smart, Oliver Goldsmith, & Samuel Johnson reported in their compilation World Displayed: or, A Curious Collection of Voyages and Travels published in 1750, that in Mexico, "Montezuma had, besides the palace in which he kept his court, several magnificent pleasure houses, one of which was a noble building, supported by pillars of jasper. In this edifice he had an aviary of those birds that are most remarkable on account of their singing or feathers, and these were so numerous, that 300 men were said to be employed in attending them." Both George Washington and John Adams owned a copy of this book.
American Painting 1790s Ellen Sharples (1769-1849). Detail of Theodosia Burr of New Jersey with bird.
Arthur Young's (1741-1820) accounts of his travels throughout Great Britain were imported into the colonies as soon as they were published. In his 1778-1770, A Six Months Tour Through the North of England, he wrote, "From hence a walk winds to the aviary, which is a light Chinese building of a very pleasing design; it is stocked with Canary and other foreign birds, which are kept alive in winter by means of hot walls at the back of the building."
American Painting 1793 Rufus Hathaway (1770-1822). Detail of Church Sampson of Duxbury, MA. with bird and birdcage.
Architect William Chambers (1723-1796) also wrote of what he hoped would be a strong Asian influence on English gardening. In his 1772, A Dissertation on Oriental Gardening, he noted that in China, "The saloons generally open to little enclosed courts, set round with beautiful flower-pots, of different forms, made of porcelain, marble or copper, filled with the rarest flowers of the season: at the end of the court there is generally an aviary."American Painting 1796 Charles Willson Peale (1741-1827). Thomas Elliott & Grandaughter Deborah Hibernia with white bird.

The 1773 Encyclopaedia Britannica, offered its readers practical advice. "AVIARY, a place set apart for feeding and propagating birds. It Should be so large, as to give the birds some freedom of flight; and turfed, to avoid the appearance of foulness on the floor." These folks had obviously read Francis Bacon's essay Of Gardens!

In America, the New-York Magazine; or, Literary Repository of 1792, was advising its readers that, "A Goldfinch must never be let loose in an aviary, for he destroys the nests and breaks the eggs of the other birds."

John Charnock (1756-1807) wrote in his 1794 Biographia Navalis that the retired "Admiral (George) Churchill (1654-1710) ...had constructed the most beautiful aviary in Britain, which he had, at an incredible expence, filled with a most rare and valuable collection of birds."
18th-Century English Woodcut
The next year, William Marshall's (1745-1818) Planting and Rural Ornament critically explained that "An Aviary Of Foreign Birds appears to be equally ill placed, in such a situation: exotic birds are apt accompaniments to exotic plants; and a shrubery, rather than a sequestered dell, seems to be the most natural situation for an aviary." George Washington owned a copy of this book.18th-Century English Woodcut

Isaac Weld (1774-1856) noted in his 1800 Travels through the States of North America that at Thomas Jefferson's Monticello in Virginia, "A large apartment is laid out for a library and museum, meant to extend the entire breadth of the house, the windows of which are to open into an extensive greenhouse and aviary."18th-Century English Woodcut.