The Lambdin portrait is a copy of an original painted by David Martin in 1766., Purchased by the Library Company, 1880., LCP Minutes vol. 8, April 1, 1880, p. 311: "A letter was recd from JR Lambdin offering for sale a portrait of Dr. Franklin, which was declined, the price being $200." Vol. 8, November 11, 1880, p. 343: "On motion it was decided to purchase from Mr. J.R. Lambdin a portrait of Dr. Franklin, provided it could be obtained for $150.00." Vol. 8, December 3, 1880, p. 352: "The following orders were drawn upon the Treasurer... No. 527, JR. Lambdin. Portrait of Dr. Franklin 150.00."
Anne Leslie was the sister of Eliza Leslie and Charles Robert Leslie. She was a portrait painter and copyist. Written on the back of the canvas, “Benjamin Franklin a copy by Miss Anne Leslie from the original by the French artist J.S. Duplessis when Franklin was in Paris. The first proprietor of Gruese’s picture of Franklin was Thomas Jefferson, by whose grand-daughter, Mrs. Coolidge, it was presented to the Boston Athenaeum.”, LCP Minutes vol. 7, April 29, 1858, p. 121: “A letter was received from Mrs. Haven stating that she had authority from Major Leslie to say that a portrait in oil of Dr. Franklin copied by Anna Leslie from the original by Greuze in the Boston Athenaeum and deposited by the late Miss Eliza Leslie in this Library was intended by Miss Leslie as a gift to this Institution. The Librarian was directed to return thanks.”, Gift of Eliza Leslie, c. 1858.
Portrait of Benjamin Franklin set into a gold frame with ribbon surmount, the foliate pierced and enameled border set with enameled urns and basket decorated with seed pearls, the reverse glazed to reveal the counter-enamel. The portrait is one of five extant versions and the jeweled setting is most likely contemporary and commissioned so that the image could be worn as a pendant. Weyler painted this portrait as a part of a series of miniatures he called “Panthéon Iconographique,” which included famous men he wanted to preserve for posterity in enamel. Franklin was the most popular of the series’ subjects. The original portrait for which the enamel was based on has not been traced, but it is believed to be a pastel taken from life., See accession file for more information about provenance., Purchase of the Library Company, 2013.
Benjamin Morgan was a prominent Philadelphia lawyer. Admitted to the bar in 1785, he became one of the judges of the District Court in 1821, and, previous to this, one of the founders of the Penna. Academy of the Fine Arts in 1805. Morgan was Secretary of the Library Company from 1792-1825 and one of its directors, 1825-1840., LCP Minutes vol. 9, April 4, 1889, p. 158: “A vote of thanks was directed to be sent to Mrs. Robert W. Leaming for her gift of a portrait of Benjamin R. Morgan.”, Gift of Mrs. Robert W. Leaming, 1889.
Gift of Miss Gillingham, June 2, 1904., LCP Minutes vol. 10, June 2, 1904, p. 88: "One portrait and two pastels bequeathed by Miss Gillingham to the Library were received."
Cushman was a Boston-born actress who became the leading American stage actress and immensely famous in both America and England. Cushman was the stage manager of the Walnut Street Theater in Philadelphia from 1842 to 1844, and this portrait was painted during that time., The Folger Shakespeare Library has an almost identical portrait of Charlotte Cushman, also painted by Sully, which was donated to them in 1936 by Mrs. Vincent Cushman, wife of Charlotte's nephew., Bequest of Anne Hampton Brewster, 1892., Exhibited in: Pennsylvania Academy of Fine Arts' exhibition, Memorial Exhibition of Portraits by Thomas Sully (1922); Philadelphia Art Alliance for a theatrical exhibition culled from the Charlotte Cushman Club (1955); National Portrait Gallery's exhibition, This New Man (1968); National Portrait Gallery's exhibition, Thomas Sully, Portrait Painter (1983); Library Company and Historical Society of Pennsylvania's exhibition, Women 1500-1900 (1974); Milwaukee Art Museum and San Antonio Museum of Art's exhibition, Thomas Sully: Painted Performance (2013-2014).
A funeral hatchment depicts the coat of arms of the deceased person., Used at the funeral of Gov. John Dickinson, Feb. 14, 1808., Letter inserted in the LCP Minutes, vol. 9, p. 117 from Miss Maria Logan to G.M. Abbot discussing the gift of the Hatchment to the Library Company., Gift of the Heirs of John Dickinson, 1887.
Gift of David Doret and Linda G. Mitchell, 2022., Label on the verso from Montclair Art Museum (Montclair, N.J.) (Double Head Study), Gift of Mr. and Mrs. Ethan D. Alyea. 1964.51., Bust-length, forward-facing portrait study of two white women. In the left, shows an older woman with brown ringlet curls framing her forehead and attired in a white lace day cap tied in a bow under her chin and a dark-colored dress with a white lace collar. In the right, shows a young woman with her dark brown hair parted in the middle and tied back and attired in dress with a white neckline. There is an additional portrait of a woman on the verso of the canvas. A cut out in the frame reveals the eyes of the portrait. A photocopy reproduction is taped to the back. Bust-length portrait of a white woman with her blonde hair tied back and attired in drop earrings, a multi-stranded necklace, and a light blue dress.
Sully Register, #1286., Parke was a director of the Library Company from 1778-1835., There is a MS bill in the Daniel Parker Papers at the Historical Society of Pennsylvania from Thomas Sully to the Directors of the Library Company for the portrait and frame (by M. Pike) for $120., Purchased by the Library Company's Board of Directors, 1822., Exhibited at the College of Physicians (1887). Exhibited at the Pennsylvania Academy of Fine Arts (1922).
LCP Minutes, vol. 7, June 6, 1867, p. 287-288, “The following presents were recorded for which the Librarian was directed to thank the donor… Portrait Duke of Brunswick- P.F. Snyder.”, Gift of P.F. Snyder, 1867.
LCP Minutes vol. 7, Dec. 7, 1865, p. 249: "An original portrait of Francis Bacon Lord Verulam was offered by Philip F. Snyder, Esq. in exchange for 4 shares in the Library Company, which was accepted and the Treasurer was authorized to issue certificates accordingly.”, Gift of Philip Snyder in 1865 in exchange for four shares in the Library Company.
These buildings were built 1713-1745 on Walnut Street between Third and Fourth Streets to house Quaker poor. The main building of the almshouse was removed in 1841 and the last of the cottages in 1876., Stenciled on the back of the frame: Ashton & Browne, 204 Chestnut St., Bequest of Dr. James Rush, 1869.
George Campbell was the librarian of the Library Company, 1806-1829 and on the board of directors from 1836-1855. This portrait was painted for the Musical Fund Society, of which Campbell was president., Gift of Edwin Wolf 2nd, 1960., Exhibited in the Library Company's exhibition, In Living Color: Collecting Color Plate Books (2007).
George W. Norris was a Library Company board member from 1840-1874. He was a Philadelphia surgeon and author and editor of books on historical medicine. He served as president of the Historical Society of Pennsylvania, vice-president of the Philadelphia Medical Society, vice-president of the College of Physicians, vice-president of the AMA, and an associate of the Academy of Natural Sciences and the American Philosophical Society.
Signed and dated on the lower right corner, S.B. Waugh 1881., Henry Wharton was a Library Company Board member for 18 years., Purchased by the Library Company's Board in 1881.
A genre painting in the vein of Anthoni Palamedesz (Rotterdam) or Pieter Codde (Amsterdam) of the 1630s. The panel support suggest they could be 17th century., Bequest of Dr. James Rush, 1869.
The painting is not signed or dated., The figure in the foreground supposedly is Benjamin Franklin flying a kite during an electrical storm., Exhibited in Haverford College's exhibition, The Pennsylvania Landscape: Colonial to Contemporary (2007).
LCP Minutes vol. 8, April 30, 1885, p. 557a: “A portrait in oil of James Coxe, artist whose library of 5000 vols was purchased in 1832 by the Co., was presented by Philip F. Snyder Esq. and the Sec’y was instructed to return the thanks of the Board.” Note by George Maurice Abbot, Dec. 4, 1890: The painting of “Mercy Interceding for the Vanquished” said to be by Etty, was given to the library by Philip F. Snyder who also painted for the library from a pencil sketch, a portrait of James Cox, from whom the library at one time bought a large number of books.”, Gift of Philip F. Snyder, 1885., Exhibited in the Library Company's exhibition, In Living Color: Collecting Color Plate Books (2007).
The Library Company directors commissioned Thomas Sully to replace the portrait of James Logan that was destroyed in a fire in the Loganian Library on Jan. 6, 1831. Sully copied his painting from a portrait by Gustavus Hesselius in the possession of Mrs. D. Logan of Stenton (now in the possession of the Historical Society of Pennsylvania/Atwater Kent) and received two shares of LCP stock in payment., LCP Minutes vol. 5, Jan. 7, 1831, p. 309, "The destruction of an original portrait of James Logan, the distinguished donor of the Library bearing his name...is...a subject of great regret..." Loganian Library Minutes vol. 1, Nov. 10, 1831, p. 202-203: "An order was drawn ... for two shares of the stock of said company agreed to be given to Thomas Sully, Esqr. for painting a portrait of the founder of the Loganian Library from the one in the possession of Mrs. D. Logan of Stenton.", Commissioned by the Directors of the Library Company, 1831., Exhibited at the Great Central Fair in Philadelphia, in the "Wm. Penn Parlor" (1864). Exhibited in the Metropolitan Museum of Art's exhibition, Benjamin Franklin and His Circle (1936).
LCP Minutes vol. 12, March 3, 1927, p. 93: “… the residue of the Estate of Sydney George Fisher is left to the Library Company, and in addition various designated engravings and prints.”, Bequest of Sydney George Fisher, 1927.
Johnson was an eminent corporate lawyer and was involved in the case dealing with the building of the Ridgway Building. His art collection became the nucleus of the Philadelphia Museum of Art., LCP Annual Report May, 1939, p. 6, “By the kindness of Mr. William De Krafft the Library Company has become the possessor of the portrait of John G. Johnson, painted by Albert Rosenthal.”, Gift of William de Krafft, 1938., Exhibited by the Pennsylvania Academy of Fine Arts in the 112th Annual Exhibition, 1917.
John Jay Smith was the Library Company's Librarian from 1829-Feb. 1851 and Treasurer from 1840-1857., Painting is signed on the lower right., Receipt for portrait, frame, and tablet for name, dated April 13, 83, in vol. 3 of John Jay Smith's Recollections-manuscript copy [8442.F]., LCP Minutes vol. 8, May 3, 1883, p. 474: "Mr. L.P. Smith, having in behalf of himself and his brothers Mssrs. Robert P. Smith and Horace J. Smith, presented the Library Company with a portrait of the late John Jay Smith; the Secretary was directed to thank the donors, for the very acceptable gift of the portrait of one who had so long and faithfully served the Library Company.", Gift of Lloyd Pearsall Smith on behalf of himself and his brothers, Robert P. and Horace J. Smith, 1883., Exhibited in the Library Company's exhibition, Building a City of the Dead: The Creation and Expansion of Philadelphia’s Laurel Hill Cemetery (2010-2011).
John Markoe was the son of Abraham Markoe and his second wife, Elizabeth Baynton. John married Mehitabel (Hitty) Cox in 1804 and succeeded his father as head of extensive business interests in Philadelphia. About 1810 a mansion was built for the Markoes designed by Benjamin Henry Latrobe and supervised by Robert Mills, on Chestnut St. between 9th and 10th., Gift of Mary De Witt Pettit, 1965.
Written on the back of the frame: Coleman., John Markoe was the son of Abraham Markoe and his second wife, Elizabeth Baynton. John married Mehitabel (Hitty) Cox in 1804 and succeeded his father as head of extensive business interests in Philadelphia. About 1810 a mansion was built for the Markoes designed by Benjamin Henry Latrobe and supervised by Robert Mills, on Chestnut St. between 9th and 10th., Gift of Dr. Mary Dewitt Pettit, 1965.
A letter inserted in the LCP Minutes vol. 9, p. 137, dated Nov. 16, 1888, from Lambdin to G. M. Abbot, reads: "The John Penn was copied from a picture said to be by [Godfrey] Kneller, but that could not have been for he died very many years before Penn was born. I think it was probably painted by Hudson, who lived in John Penn's day. The original belonged, I think, to Samuel Lardner, from whom it was borrowed. The copy was presented by me to the Library Co.", Gift of James Reid Lambdin, before 1864.
Doughty's first version of the lake scene was said to be painted for Henry Pickering, a Hudson River poet. From this painting, George B. Ellis engraved a print which illustrated the poem, "A Lake Scene", by Pickering which appeared in the 1827 gift book, The Atlantic Souvenir. The Library Company's painting is a later version that differs slightly with the addition of a pair of huntsmen., Bequest of Dr. James Rush, 1869., Exhbited in the Library Company's exhibition, Quarter of a Millennium (1981).
The painting is signed "S. Jennings Pinxt.1792" on a scroll in the lower right corner. The frame is original, made by the Philadelphia carver and gilder James Reynolds (c. 1736-1794)., LCP Minutes vol. 3, April 1, 1790, p. 195-197: "Extract of a Letter from Samuel Jennings, dated London January 12th, 1790. `My Dear Father. Having lately received Information that an Elegant Building is now erecting for the Philadelphia Library, an Idea immediately struck me, that if it would not be thought presumptuous, I should esteem myself very happy to have the honor of presenting a Painting to the Company that would be applicable to so noble, and useful an Institution, and which if agreeable to the Gentlemen who have the Directions of it, shall use my utmost exertion & abilities to make it acceptable; the great affection I retain for my native Country, will always be an inducement to me to contribute my mite towards the Encouragement of Arts and Sciences, hoping in due time, they will arrive to as great perfection as they are at present, in the place I now reside--- As I do not know who the Gentlemen are that have the direction of the Library, I request you will be so obliging as to communicate to them the Information I have given you, and if they should be pleased to approve of it, as I hope they will, it will be necessary for me to be acquainted with the length, breadth and height of the Room, together with the Situation they would wish to place in it, and if over the Fire-place, the distance from the Mantle-piece to the Ceiling-- You will perhaps think me too particular, but these are things essentially necessary--/As soon as I receive an answer from you with their approbation, which I hope will be by the first Packet from New York, or any other immediate opportunity, I shall put the piece into Execution., In regard to the subject, there are three, which I think would be applicable to the Institution vizt. Cleo - Goddess of History, and Heroic Poetry. Calliope - Goddess of Harmony, Rhetoric, & Heroic Poetry - Minerva- Goddess of Wisdom & all the Arts, The Presidentess of Learning, which seems to comprehend everything that can be desired.The dress of Minerva is grand, and would make a better picture than either of the others. But if my other Subject should be their choice, I shall with plesure, comply with it-' This handsome Compliment from one of our Fellow Citizens now in London, is gratefully received, and Mordecai Lewis, John Kaighn, Doctor Parke, Thomas Morris and Richard Wells, are appointed a Committee to prepare a Letter to go by the next Packet expressive of the high Sense which the Board entertain of the genteel proposal, and that the Committee take the subject of the picture into consideration, and transmit their opinion thereon-.", Vol. 3, May 6, 1790, p. 206-207: "The Committee appointed by the last board reported that they had transmitted a letter to Samuel Jennings in answer to his polite and liberal offer of a painting for this Institution which was read and ordered to be entered on the minutes--- `Phila. April 3, 1790, Esteemed Friend- The Directors of the Library Company of Philadelphia having been furnished with an extract of thy letter respecting a Piece of Painting intended for the Library they have instructed us to transmit their grateful acknowledgments for so genteel a notice of their Institution--To recieve such a proof of Attachment from one of their Fellow-Citizens, at so great a distance, must be truly pleasing to every Member of the Company, to whom the Directors will have an opportunity of communicating it, at their annual Election next month-/ The Board have considered the three Subjects submitted to their Choice, and readily agree in giving a preference to that of Minerva; but as a more general latitude has been so politely granted, they take the liberty of suggesting an Idea of Substituting the figure of Liberty/with her Cap and proper Insignia/displaying the arts by some of the most striking Symbols of Painting, Architecture, Mechanics, Astronomy etc, whilst She appears in the attitude of placing on the top of a Pedestal, a pile of books, lettered with, Agriculture, Commerce, Philosophy, & Catalogue of Philadelphia Library., A broken chain under her feet, and in the distant background a Groupe of Negroes sitting on the Earth, or in some attitude expressive of Ease & Joy -/ This is handed merely as a Sketch of what struck the Directors, but they have so much diffidence on Subjects of this nature, that they wish to submit the whole to thy own Judgment-/ We are on behalf of the Directors very respectfully Thy Friends. Signed by Richard Wells, Thomas Morris, Thomas Parke, John Kaighn'., Gift of Samuel Jennings, 1792., Exhibited in: Art Institute of Chicago's exhibition, From Colony to Nation (1949); Corcoran Gallery of Art's exhibition, American Processional (1950); Library Company and Historical Society of Pennsylvania's exhibtion, Negro History, 1553-1903 (1969); The National Portrait Gallery's exhibition, The Black Presence in the Era of the American Revolution, 1770-1800 (1973); Library Company and Historical Society of Pennsylvania's exhibtion, Women 1500-1900 (1974); Library Company's exhibition, Quarter of a Millennium (1981); Corcoran Gallery of Art's exhibition, Facing History, The Black Image in American Art, 1710-1940 (1990).
Signed on the bottom left corner, “GB Wood, 1880.”, The painting depicts the interior of the Library Company's building on 5th Street. Lloyd P. Smith, the Librarian, is standing behind the charge desk. There is a woman and her dog standing in front of the desk with her back to the viewer. It is possible the woman is supposed to be Anne Hampton Brewster who owned a dog and was a close friend of Lloyd P. Smith., Represented in the painting (behind the Librarian's Desk) are the following objects: Bust of Clytie (OBJ #536), Bust of Apollo (OBJ #538), Painting of Stenton by Lewis (OBJ #142), and Portrait of James Logan by Sully (OBJ#255), Gift of Dr. William Pepper, 1893.
Smith was the librarian of the Library Company from 1851-1886 and a director from 1857-1886., Letter inserted in the LCP Minutes, vol. 9, dated Nov. 16, 1888, p. 137 from Lambdin to G. M. Abbot reads: The Portrait of Mr. Lloyd Smith has been transferred by me to his widow, who will in the future control it. Feb. 4, 1915: A portrait of Mr. Lloyd P. Smith and some pictures relating to the Library presented by his great nephew Lloyd M. Smith were received, and thanks returned for the same., Gift of Lloyd M. Smith, 1915.
This painting satirically illustrates animal magnetism or magnetic therapy. On the wall are three pictures: Loutherbourg, an artist turned quack, Yeldell (with donkey ears) a follower of Mesmer, and probably de Mainaudiac, a doctor who advertised magnetic cures and animal magnetism. Also in the painting are packets of "Mag Snuff" and an open book that reads, "Magnetic Effluvia" and "List of Cures" with a dog urinating on it., Labels on the back read “1831 From James S. Earle & Sons, Earle’s Galleries, No. 816 Chestnut Street Philadelphia” and “Library Company of Philadelphia. 3775.”, Engraving in The Attic Miscellany. London: Bentley, 1791 (Vol. I, pictured on p. 121). Engraving is signed: Drawn by Collings, etched by Barlow, published by Bentley & Co., 1790.
