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Fitchburg (Massachusetts, United States) (search for this): chapter 17
Warren of Cambridge, about 1870-1871,—one standing, one sitting with a cane, one holding a French newspaper, and one reproduced in the Memorial volume published by the city of Boston in 1874. 17. Portrait, by William M. Hunt, not from sittings, but following Allen and Rowell's photograph. 18. Portrait, by Edgar Parker, for which sittings were given in Boston in 1873. Mr. Parker painted three portraits,—one now belonging to the city of Boston, another to the Wallace Public Library of Fitchburg, and the third still belonging to one of the artist's relatives. 19. Two unfinished portraits, by William Page, for which sittings were given in New York in 1872 or 1873. 20. Photograph, by Allen and Rowell of Boston, the last ever taken, made late in 1873; is reproduced in the Memorial volume printed by the State in 1874, and in this Memoir (vol. IV.), and has been engraved by the treasury department at Washington. The photographers have also issued it enlarged. 21. Full-length
Lynn (Massachusetts, United States) (search for this): chapter 17
he photographers have also issued it enlarged. 21. Full-length portrait, by Henry Ulke, for which sittings were given in Washington in 1873-1874; last likeness from life. It was ordered by Hayti in recognition of the senator's opposition to the San Domingo annexation, and now hangs in the Senate chamber in the Haytian capitol. The artist painted two other portraits at the same time, all three alike representing Sumner speaking in the Senate,—one full-length and owned by John B. Alley, of Lynn; and the other three-quarters in length, and given by James Wormley to the State of Massachusetts. This last hangs in the State Library (Senate Doc., 1884, Nos. 272, 323; Boston Transcript, Sept. 27, 1883). 22. Various busts and statues in plaster, offered for a bronze statue, for which Thomas Ball's design was accepted. The statue was erected in the Public Garden in Boston in 1878. The oil paintings of Sumner were generally unsatisfactory. Those by Ulke, however, represent well his
Dominican Republic (Dominican Republic) (search for this): chapter 17
tograph, by Allen and Rowell of Boston, the last ever taken, made late in 1873; is reproduced in the Memorial volume printed by the State in 1874, and in this Memoir (vol. IV.), and has been engraved by the treasury department at Washington. The photographers have also issued it enlarged. 21. Full-length portrait, by Henry Ulke, for which sittings were given in Washington in 1873-1874; last likeness from life. It was ordered by Hayti in recognition of the senator's opposition to the San Domingo annexation, and now hangs in the Senate chamber in the Haytian capitol. The artist painted two other portraits at the same time, all three alike representing Sumner speaking in the Senate,—one full-length and owned by John B. Alley, of Lynn; and the other three-quarters in length, and given by James Wormley to the State of Massachusetts. This last hangs in the State Library (Senate Doc., 1884, Nos. 272, 323; Boston Transcript, Sept. 27, 1883). 22. Various busts and statues in plaster
Massachusetts (Massachusetts, United States) (search for this): chapter 17
commended at the time by Wendell Phillips, W. M. Hunt, John T. Sargent, F. V. Balch, and Lydia Maria Child (see her Letters, p. 187). The original was placed in the State House, Boston, and the artist's reproduction of it was given by the State of Massachusetts to George William Curtis in recognition of his eulogy on the senator. This copy has been on exhibition at the Metropolitan Art Museum in New York. A picture of the bust is given in Harper's Weekly, June 20, 1874. 13. Medallion, by Mrtist painted two other portraits at the same time, all three alike representing Sumner speaking in the Senate,—one full-length and owned by John B. Alley, of Lynn; and the other three-quarters in length, and given by James Wormley to the State of Massachusetts. This last hangs in the State Library (Senate Doc., 1884, Nos. 272, 323; Boston Transcript, Sept. 27, 1883). 22. Various busts and statues in plaster, offered for a bronze statue, for which Thomas Ball's design was accepted. The stat
Yorkshire (United Kingdom) (search for this): chapter 17
Crayon drawing, by Eastman Johnson in 1846, belonging to the Longfellow family, and engraved for this Memoir (vol. II.). It is held by the artist to have been a good likeness at the tine, but others express a doubt. 3. Crayon, by W. W. Story; made from sittings in 1851 at the request of the seventh Earl of Carlisle, with some final touches from Seth W. Cheney, as Story left for Europe before it was quite finished (ante, vol. III. p. 64; IV. p. 261). It has been kept at Castle Howard, Yorkshire; it is a good likeness, and represents Sumner at his best, in the fulness and strength of manhood. Prescott wrote to Sumner in January, 1852: You cannot expect a better likeness in every sense. It was lithographed by S. W. Chandler before it was sent to England. Epes Sargent wrote of the print, which was published in 1854, that it was a capital likeness, and that nothing could be better. The biographer has a copy of a photograph of the picture, taken at York since the senator's death.
Sturbridge, Mass. (Massachusetts, United States) (search for this): chapter 17
the Boston Public Library in 1874; has been engraved by S. A. Schoff. The engraving does not follow the portrait closely, and is thought better than the portrait. 8. Portrait, by Wellman Robinson; painted in 1856, now belonging to Harvard College. 9. Photograph, taken in London in 1857 for the late Henry Richard, M. P. (ante, vol. III. p. 547). 10. Portrait, by W. Willard; painted in twenty-one sittings in August and September, 1865, and still in Mr. Willard's possession at Sturbridge, Mass. The artist made a copy in 1877, which is owned by Thomas Mack, of Boston. He also painted the head for Abraham Avery. 11. Bust, by E. A. Brackett; given to Harvard College in 1857. 12. Bust, by M. Milmore; finished late in 1865 (ante, vol. IV. p. 199), and greatly commended at the time by Wendell Phillips, W. M. Hunt, John T. Sargent, F. V. Balch, and Lydia Maria Child (see her Letters, p. 187). The original was placed in the State House, Boston, and the artist's reproduction o
York (United Kingdom) (search for this): chapter 17
en kept at Castle Howard, Yorkshire; it is a good likeness, and represents Sumner at his best, in the fulness and strength of manhood. Prescott wrote to Sumner in January, 1852: You cannot expect a better likeness in every sense. It was lithographed by S. W. Chandler before it was sent to England. Epes Sargent wrote of the print, which was published in 1854, that it was a capital likeness, and that nothing could be better. The biographer has a copy of a photograph of the picture, taken at York since the senator's death. 4. Daguerreotype, by Southworth and Hawes, of Boston, in 1853; taken for, and owned by, the biographer, and engraved for this Memoir (vol. i.). 5. Daguerreotype, taken a few months later at Lowell; owned by Mrs. W. S. Robinson. 6. Portrait, by Walter M. Brackett; painted from sittings in 1854, and now in the custody of Edward A. Presbrey, Brookline. 7. Portrait, by W. Wight; painted in the winter of 1856-1857, and given to the Boston Public Library in 1
Brookline (Massachusetts, United States) (search for this): chapter 17
likeness, and that nothing could be better. The biographer has a copy of a photograph of the picture, taken at York since the senator's death. 4. Daguerreotype, by Southworth and Hawes, of Boston, in 1853; taken for, and owned by, the biographer, and engraved for this Memoir (vol. i.). 5. Daguerreotype, taken a few months later at Lowell; owned by Mrs. W. S. Robinson. 6. Portrait, by Walter M. Brackett; painted from sittings in 1854, and now in the custody of Edward A. Presbrey, Brookline. 7. Portrait, by W. Wight; painted in the winter of 1856-1857, and given to the Boston Public Library in 1874; has been engraved by S. A. Schoff. The engraving does not follow the portrait closely, and is thought better than the portrait. 8. Portrait, by Wellman Robinson; painted in 1856, now belonging to Harvard College. 9. Photograph, taken in London in 1857 for the late Henry Richard, M. P. (ante, vol. III. p. 547). 10. Portrait, by W. Willard; painted in twenty-one sittin
Carlisle (search for this): chapter 17
be in chronological order:— 1. The earliest representation of any kind is Crawford's bust, taken at Rome in 1839, now in the Boston Art Museum (ante, vol. II. pp. 94, 265). 2. Crayon drawing, by Eastman Johnson in 1846, belonging to the Longfellow family, and engraved for this Memoir (vol. II.). It is held by the artist to have been a good likeness at the tine, but others express a doubt. 3. Crayon, by W. W. Story; made from sittings in 1851 at the request of the seventh Earl of Carlisle, with some final touches from Seth W. Cheney, as Story left for Europe before it was quite finished (ante, vol. III. p. 64; IV. p. 261). It has been kept at Castle Howard, Yorkshire; it is a good likeness, and represents Sumner at his best, in the fulness and strength of manhood. Prescott wrote to Sumner in January, 1852: You cannot expect a better likeness in every sense. It was lithographed by S. W. Chandler before it was sent to England. Epes Sargent wrote of the print, which was pub
Francis V. Balch (search for this): chapter 17
0. Portrait, by W. Willard; painted in twenty-one sittings in August and September, 1865, and still in Mr. Willard's possession at Sturbridge, Mass. The artist made a copy in 1877, which is owned by Thomas Mack, of Boston. He also painted the head for Abraham Avery. 11. Bust, by E. A. Brackett; given to Harvard College in 1857. 12. Bust, by M. Milmore; finished late in 1865 (ante, vol. IV. p. 199), and greatly commended at the time by Wendell Phillips, W. M. Hunt, John T. Sargent, F. V. Balch, and Lydia Maria Child (see her Letters, p. 187). The original was placed in the State House, Boston, and the artist's reproduction of it was given by the State of Massachusetts to George William Curtis in recognition of his eulogy on the senator. This copy has been on exhibition at the Metropolitan Art Museum in New York. A picture of the bust is given in Harper's Weekly, June 20, 1874. 13. Medallion, by Margaret Foley; taken from sittings in 1865, and given by the family of James
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