Found: The Lost Portraits of Mrs. Benjamin Gratz

Maria Cecil Gist Gratz (Mrs. Benjamin Gratz)

by Thomas Sully. Oil on canvas, Philadelphia, 1831.

Courtesy of the Rosenbach Museum & Library.

Gift of Maria Gratz Roberts. 2011.0023.00l.

Photograph by Douglas A. Lockhard

Last spring Judith Guston, the curator of the Rosenbach Museum & Library, asked me to write a blog post about a painting which neither of us had ever seen: a portrait, by Thomas Sully, of Maria, the wife of Rebecca's brother Benjamin Gratz.

The Museum's interest in this painting began more than 40 years ago when the Rosenbach received a bequest from Ben's granddaughter which included Sully's portrait of Ben, painted in Philadelphia in 1831. The artist's records show that he had also painted Maria at the time, but where was she? Henrietta Clay, who gave the bequest, had heard that the painting existed but had no idea where it was. This is not too surprising because the Kentucky Gratz's are a large family. Miss Clay, a descendant of Ben's second wife (Maria was his first), was in the wrong line of descent to know much about Maria.

In 1984 the Rosenbach received another Gratz bequest, this time from the widow of a descendant of Maria's. She knew the Museum was looking for Sully's painting, and she reported it had already disappeared by the time she married into the family. She gave the Rosenbach a lovely portrait of a youthful Maria, by Matthew Harris Jouett. And she included in her bequest a photo of what she termed "a crayon copy" (a pastel) of the Sully portrait, which I would eventually use in my blog post.

Years passed, and the Maria portrait never made an appearance at auction, with a dealer or in an art publication. So the Rosenbach took a shot with my blog, and it was no sure thing. The portrait could well have been in the hands of someone who did not know the sitter or the painter and would never find my post. Or the painting might turn up in another institution, no longer a possible addition for the Rosenbach.

I published the post at the beginning of June, thinking we should probably give it a year or two. I did not know that a Gratz descendant in Georgia was already acquainted with my blog and checked it from time to time. Three weeks later our curator got a call from Atlanta. Maria Gratz Roberts, a great-great-great-granddaughter of Ben and Maria, had the original Sully portrait in her parlor. It had been given to her father by his great-uncle, a grandson of Ben and Maria, no later than 1935. And although Maria Gratz Roberts had lived with the painting throughout her life, she, like us, had the romantic notion that Ben and Maria's portraits should be together again.

What's more, Ms. Roberts proposed that she GIVE the Rosenbach the Sully portrait of Maria, the pastel copy which she also owned and a chair that Ben had brought from Pennsylvania. This incredible generosity was much more than anyone could have imagined at the beginning of our search. I know from my work with the Gratz correspondence how much Rebecca Gratz and her family admired Maria Roberts' great-great-great-grandparents and their happy marriage. It is absolutely fitting that their portraits be reunited. I hope our benefactor will visit the paintings at the Museum and accept our thanks in person.

Thomas Sully's 1831 portrait of Maria will go on display to the public on Saturday, February 11th, just in time for the Rosenbach's annual Romance Tours which take place that weekend. They will be spotlighting those objects in our collections which have romantic associations -- the portraits of Ben and Maria, a love letter by John Keats, Lord Byron's marriage license and much more. Click here for information about the tours and their times.

If you would like to know more about the artist Thomas Sully, you can get an interesting perspective on his work on Feb. 15th. Carol Soltis, Associate Curator at the Center for American Art at the Philadelphia Museum of Art, will be giving a talk at the Rosenbach on "Thomas Sully's Ladies: Real, Imagined and Literary." Click here for more information.

The Gratz Family: Federalists

Rebecca Gratz, born in 1781, grew up with the American political system. However, she much preferred the Constitution and its ideals to the party politics which developed in its wake.

By the time Rebecca was twelve (in 1793), the first American political parties were taking shape around two founding fathers with conflicting visions of the new nation. Alexander Hamilton, President Washington's Secretary of the Treasury, saw an America which could and should take its place beside the European powers. To that end, he supported a national bank to help regulate credit, a navy to protect American shipping and a strong central government to oversee the country's development into a great nation. Thomas Jefferson, the Secretary of State, envisioned America as a wholly new entity, a nation made up of farmers and townsmen, without the large cities, banks, military and centralized government which he saw as sources of corruption. The Gratz family, like the rest of the American mercantile class, most large landowners throughout the country and virtually all of New England, was squarely in the ranks of Hamilton's Federalists. Jefferson's Democratic-Republicans (whom I refer to as Democrats because that is what the Gratz's called them and because theirs was a forerunner of the modern Democratic Party) included the Virginia planters as well as farmers and much of the urban population outside New England.

During the presidential election of 1800, the Gratz's supported Federalist John Adams. The only family member who did not was Rebecca's brother-in-law Reuben Etting in Baltimore. His support for Jefferson was rewarded after the election when the new president made him United States marshal for Maryland, the first federal appointment for an American Jew.

The rest of the family was not happy. Sarah, Rebecca's older sister who was visiting with her sister and brother-in-law in Baltimore during the campaign season, spent evenings in "argumentation" with Reuben, a pastime they both seemed to enjoy. But once the results were in, Sarah expressed her dejection to 19-year-old Rebecca: "Really the triumph of the Democrats makes me feel sad. In this State as well as in ours, they are successful. Shame. Shame. I would not show Reuben your letters for the world" [my italics].

It seems clear from Sarah's comment that Rebecca was quite a partisan herself. Yet her youthful enthusiasm did not last. A few months later, her friend Maria Fenno, railing against Thomas Jefferson (probably because of his heterodox religious views), wrote, "I cannot get reconciled, little as I am a politician, to such a president....You will laugh at me [my italics], I suppose, but I know your feelings are something like mine." Whatever party fervor Rebecca had evinced during the campaign, Maria suspected that her friend had already grown skeptical of the partisan stance.

What might have caused Rebecca to have turned away from party fervor? Perhaps the change had something to do with the political press of the time.

To be continued.

(Sarah's letter about "argumentation" and Maria's letter are in the Gratz Family Collection, Manuscript Collection No. 72, at the American Philosophical Society. Sarah's post-election comments are from a letter in the Gratz Family Collection at the American Jewish Historical Society.)

The Rebecca Gratz Blog in 2011

This is my second annual report (click here for the first), a little public record-keeping, which shows how a blog about an obscure historical figure fares on the internet. This year "Rebecca Gratz & 19th-Century America" received over 2300 visits, up by more than 550 from last year, not surprising since there are more posts to attract hits.

The interesting thing for me this year is that six of the top ten posts include portraits. It strikes me that having as my subject a beautiful woman who had the presence of mind to have three portraits painted -- and had an equally attractive and well-painted family -- has brought me more hits than a figure without the good looks would have garnered. If you happen upon one of the Gratz portraits on the internet, it is difficult not to want to know more. More importantly, the portraits attract those interested in 19th-century American art and the specific artists, as well as the usual researchers concerned with American history, Jewish history, women's history and genealogy.

So here are the top ten posts on the blog this year.

The Rebecca Gratz Club (Aug. '10). Although I have heard from many people who have a familial or personal link to the Club, my guess is that the popularity of this post derives from the fact that the organization's former building (now condos) has "The Rebecca Gratz Club" incised in stone on its facade. Locals and tourists taking a walk through the historic Society Hill section of Philadelphia see the name and want to know more. I would be willing to bet -- I haven't been able to pull up these data from Google Analytics-- that the Rebecca Gratz Club is the subject of more "impulse" searches on smart phones than any other topic covered by this blog.

The Rosenbach Acquires Sully Portrait of Rebecca Gratz (Nov. '10). Well, this was a news story in art and museum publications as well as in the local Philadelphia newspapers, and my blog benefited from the increased curiosity about Rebecca.

Domestic Servants in Philadelphia, 1800 (Jan. '11). In this post I was following an interest of mine which was not covered in school when I was young. It seems to be given much more attention today.

Benjamin Gratz, Rebecca's Youngest Brother (Mar. '11)

Maria Cecil Gist, Rebecca's Sister-in-Law (Mar. '11)

Rebecca's brother and sister-in-law, besides being probably the handsomest couple in the Western Hemisphere (the posts include their portraits), have historic interest of their own, at least in Kentucky where they made their home. They are also the progenitors of the Kentucky branch of the Gratz family and therefore a target for descendants' genealogical research.

The Lost Portraits of Mrs. Benjamin Gratz: Have You Seen Maria? (June '11) Another portrait, this time linked with a mystery. Who can resist?

Sully's First Portrait of Rebecca (Oct. '09).

Sully's Second Portrait of Rebecca (Feb. '10).

See above.

The Gratz Sisters and Solomon Moses (Apr. '10). This is part of a narrative thread about Rebecca's younger sister Rachel Gratz, her romance and marriage. I think this gets onto the list because of the appearance of the words "Solomon" and "Moses" in the title. People searching for Solomon Moses, Moses Solomon, Rebecca Moses, Rachel Solomon, etc., could all wind up here.

Rebecca and Mixed Marriages (Apr. '11). This post addresses a central issue of the Rebecca Gratz legend: why she refused to marry the Christian man she loved. I check in with my speculations.

Over the past two years, most of the blog's hits have come from the United States, and as of today only one state has not yet been heard from. Come on, Wyoming, there must be one Jewish person, scholar of American painting, or historian of the 19th century living there. I look forward to your appearance in my blog statistics.

"Inquiring Minds" at the Rosenbach

Most visitors to the Rosenbach Museum and Library in Philadelphia, where I am a docent, think of it as a house museum with galleries of changing exhibitions showcasing books, art and artifacts from its collections. But the Rosenbach also functions as a resource for researchers. A new exhibition, curated by Rosenbach registrar Karen E. Schoenewaldt, spotlights the ways in which researchers have recently delved into the collections.

Fifteen projects are represented. Here are a few:

An author of a recent Dracula novel studied the Rosenbach's notes for Dracula, composed by Bram Stoker over seven years, for characters and plot threads not used in the final version.

The assistant general manager of a local gourmet foods store is using the Rosenbach's "Mr. Allen's method of curing bacon" to reproduce a 19th-century version of the food.

A student at the Moore School of Art, who came to the Rosenbach to research Maurice Sendak and music for an art history class, ended up using his illustrations from Outside Over There as inspiration for her final fashion collection. A dress from her show is on display and is a major crowd-pleaser.

A biographer, using the Rosenbach's extensive Marianne Moore collection, discovered that Moore's interest in the philosophy of William James and the novels of his brother Henry may have had its roots in her college crush on William's daughter Peggy at Bryn Mawr.

And so on.

For each project, the exhibit provides the Rosenbach source material, a description of the research and the final work. This gives visitors unusual insight into scholarly and creative inspiration and process. For those works which cannot be fit into a glass case, there is a computer terminal-- where, for instance, you can see the fashion show mentioned above or read my blog, "Rebecca Gratz & 19th-Century America," which is among the projects covered.

The examples I have chosen highlight a Rosenbach policy: although many academics use its collections, you need not be one to gain access to them. Click here for more information about research at the Rosenbach.

The exhibition will run through March 25, 2012.

Visitors at the Hebrew Sunday School

In the summer of 1840, Rebecca wrote to a niece about an occurrence at a recent session of her Sunday School. Just as school was beginning, two men entered the classroom. They said that the children outside had invited them in and asked if they might stay. Rebecca gave her permission.

As the classes ended the older of the two men stood up and asked if he might speak. He and his companion, he said, were Seventh-Day Baptists (a Protestant denomination, in general agreement with other Baptists except for the proper day for the Sabbath which they observe on Saturday).

The man told how he had been ridiculed since his youth for keeping Saturday "like the Jews." Now he "felt happy there were communities of Israelites spread over the land...he deemed it a privilege to keep their holy Sabbath [and] prayed God would bless them." His words, Rebecca wrote, impressed the children. The two men then quietly left.

(For an anecdote about a Jewish visitor to the Sunday School, click here.)

(This letter is in the Miriam Gratz Moses Cohen Papers, No. 02639, Southern Historical Collection, University of North Carolina at Chapel Hill.)

Theater in America, circa 1800

When Rebecca was a young woman, going to the theater was a popular pastime among those in her social set. The theater provided variety, with a mixture of Shakespeare, other favorites from the past and recent London hits. People went even though productions could be very uneven. Maria Fenno, Rebecca's best friend, reported to Rebecca from New York that she would be going to see King Lear, as performed by a "band of butchers," with a Cordelia "who has frequently been obliged to go to bed in the middle of a play in consequence of intoxication." On the other hand, America in 1800 had begun to attract young English actors whose stars rose much more quickly here than on the London stage. They would be the first matinee idols in the new nation.

Most of the social elite, as devotees of the English literary heritage, attended regularly. Others, like the Quakers, stayed away on principle. The middle classes generally avoided the theater, believing it to be a den of vice, and it can be argued that they were correct. Nearly every theater had its infamous third tier, the highest balcony where prostitutes displayed themselves and booked assignations. Theater owners early realized that this secondary attraction brought in a regular clientele, whose tickets provided the profit necessary to keep the dramatic arts alive in America.

The third tier was a frequent source of noise and disruption, but the prostitutes and their johns were not alone in impropriety. Wealthy young men felt entitled to exercise their wit in voices loud enough for the whole theater to hear. Rebecca's sister Rachel found their conduct disgusting on at least one occasion:

"We had several of them in our box at the theatre [who] annoyed me almost to death. Every word that [the leading actor] uttered was repeated by them with some comments."

Despite the rowdiness of the third tier and the "arrogance and affectation" (Rachel's words) of some young men, respectable men and women, safe in their theater boxes, continued to attend, and even to bring their adolescent children. In 1805 Rebecca wrote of taking 14-year-old Matilda Hoffman to see a play.

(Maria's letter is in the Gratz Family Collection, Manuscript Collection No. 72, at the American Philosophical Society. Rachel's is from the Gulian C. Verplanck Papers at the New York Historical Society, and the information about Rebecca and Matilda's theater-going is from a letter written by Rebecca in the Gratz Papers at the American Jewish Historical Society.)

Rebecca and the "Little Butlers"

(This narrative thread begins here.)

When Fanny Kemble realized that her estranged husband never intended to let her see her daughters, she left the United States. During her absence, Rebecca continued to be a good friend. The two women began a correspondence which survives only in part (so far as I have been able to discover): some of Fanny's letters are among the Gratz papers at the American Philosophical Society, but Rebecca's have been lost. However, it is easy to discern the letters' most important purpose -- to provide Fanny with news of her children. In an undated letter to Rebecca, Fanny wrote, "A thousand thanks for the accounts of my girls. How right, how wise, how good, how kind you are to tell me everything that you can about them, from Fanny's French studies to Sarah's brisk bonnet."

Given the rancor between the parents, it is surprising that Pierce Butler would permit his daughters to visit a woman who was very much their mother's friend. Butler could not accuse Rebecca, as he did other of Fanny's friends, of helping to destroy his marriage; she didn't meet his wife until their relationship was all but over. And here was an instance where Rebecca's reputation as a "good woman" and the inspiration for Rebecca in Scott's Ivanhoe probably stood her in good stead.

Rebecca invited Fanny's daughters to her house, and also seems to have taken them on excursions. In 1847, she wrote her niece Miriam Cohen after a trip to a charity bazaar, "The little Butlers seem entirely delighted and I go again to see them enjoy themselves." Rebecca's pleasure in the companionship of children as well as her keen observations must have made her ideal for communicating the girls' behavior and interests to their mother. To her own relatives, Rebecca wrote of her concern for the development of the children without a mother's influence.

After Fanny's return to America in 1848, her husband permitted her to see her daughters. She wrote to Rebecca about her older girl: "Sarah's mode of speaking of you pleased me extremely, not because it was affectionate, but because it was respectful and enthusiastic and bespoke in her some appreciation of that moral dignity & beauty which I would have her respect and admire and love above all things."

The affection between Rebecca and the little Butlers may have grown out of their peculiar situation but it endured. In 1856, when the girls had reached womanhood, Rebecca reported: "I have just had a visit from my young friends the Butlers -- Sarah came to tell me of her engagement to Mr. Sandford of New York...." (The engagement was not as enduring as their friendship. In 1859 Sarah married Dr. Owen Jones Wister of Philadelphia; her son was the novelist Owen Wister.)

Even at the beginning of the Civil War, in which Pierce Butler was a vocal southern sympathizer, Rebecca continued her concern. The younger daughter, Fanny Butler, who took her

father's side, had gone with him to Georgia in February of 1861. In March Rebecca was already asking her niece in Savannah for any news of the young woman. (She and her father were fine. They returned North for the war, during which Pierce Butler was in and out of trouble for his views, and went back to Georgia after to try to renew the prosperity of the family holdings.)

(As mentioned above, Fanny's letters are in the Gratz Family Collection, Manuscript Collection No. 72, at the American Philosophical Society. Rebecca's are in the Miriam Gratz Moses Cohen Collection, No. 02639, the Southern Historical Collection, University of North Carolina at Chapel Hill. I also used Malcolm Bell, Jr.'s Major Butler's Legacy: Five Generations of a Slaveholding Family, for more information about the Butler's.)