Louisa Cotton Parmly 1840-1869; Mary Montagu (Parmly) Ward 1831-1913; Julia (Parmly) Billings 1835-1914
Eleazer, Eleazer, Jehiel, Stephen, Stephen, John, John
This 1857 oil-on-canvas portrait was painted by Thomas P. Rossiter (1818-1871), the husband of Anna Ehrick Parmly (1830-1856), whose younger sisters appear here. Anna died before the painting was completed.
Louisa Cotton Parmly holds a book of Beethovens music, and Julia (Parmly) Billings sits at the piano leafing through sheet music. Mary Montagu (Parmly) Ward is in the center.
The sisters are the daughters of noted dentist Eleazer and Anna Maria Valk (Smith) Parmly.
The artist was born in New Haven, New Haven County, Conn., and died in Cold Spring, Onondaga County, N.Y.
The painting was a gift to the Smithsonian American Art Museum from Mrs. Mary Montagu Walke. The artwork is 44 1/8 by 56 1/8 inches and is displayed at the Luce Foundation Center, on the third floor in Case 3B.
A tip o' the hat to Nelson B. Hitchcock of New York City for helping identify the painting's subjects. Nice detective work!
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Since I first posted information about this painting, more has recently come to light from Paul G. Stein, who has worked as a volunteer with the Smithsonian Archives of American Art and is a member of the Association of Historians of Nineteenth-Century Art:
In the 1850s through 1860, John Frederick Kensett, left, painted a series of at least five landscapes of the "Shrewsbury River" (now the Navesink River) along the New Jersey shore. Art historians have described Kensetts paintings of the river as having evolved from a trip in the fall of 1853 at the invitation of Kensett's friend, author and lecturer George Curtis. However, letters viewable at the Smithsonian Archives of American Art website make it clear that Kensett had become acquainted with the area over a year earlier, most likely in connection with fellow artist and friend Thomas Prichard Rossiter.
Kensett and Rossiter had been friends since at least the 1830s. As aspiring artists, they had traveled to Europe together in the 1840s. In 1851 Rossiter married Anna Ehrick Parmly, then in her early 20s, and Kensett attended the wedding. Anna was one of four daughters of Eleazer and Anna Maria Parmly. Eleazer, one of the major figures in American dentistry history, was a wealthy and accomplished member of New York society.
When not in the city, the Parmly family gathered at Bingham Place, a sprawling estate on 275 pastoral acres spanning the peninsula between the Shrewsbury and Navesink Rivers along the New Jersey shore. The Bingham Place estate encompassed much of what is now Rumson, then known as Oceanic, N.J. It was a wide-open landscape of ocean views, orchards, lawns, and cattle-dotted pastures. There the Parmlys opened their doors to family, friends, and the summer breeze.
Rossiter, newly-married into the Parmly family, was likely the reason that Kensett paid a social visit to Bingham Place in the summer of 1852. On July 11, 1852, having reluctantly departed, Kensett wrote Rossiter who was still at Bingham Place:
Kensett was charmed not only with Bingham Place, but also with the three Parmly daughters: Mary, in her early 20s; Julia, in her late teens; and Louisa, the youngest at 13. A portrait of the Parmly daughters, painted by Rossiter, is now in the Smithsonian Museum of American Art.
On Oct. 18, 1852, he wrote Rossiter: "My best regards to Mrs. R. & friends at Bingham Placenot forgetting bright-eyed LouLou"
Kensett seems to have been referring to little Louisa. He soon painted her a keepsake. It turned up at an August 2006 taping of PBS' "Antiques Roadshow" in Philadelphia, purchased with a companion painting at a yard sale for $35. The appraiser turned over one of the paintings to display the inscription (the other painting being "similarly inscribed") which read, "Louisa Parmly from J. F. Kensett," and a date in July 1853.
The appraiser understandably misread "Louis" instead of "Louisa," but it is clear from looking at the inscription that the recipient was indeed "bright-eyed" Louisa.n It also seems possible that one of the paintings is a view at the Parmly estate, looking toward the distant ocean.
Louisa was not the only Parmly daughter to receive a Kensett keepsake. In 1856, he painted a small scene of a scrub-covered hill looming over a placid ocean inlet dotted with sails, with a bright sandy strip in the distance. The view would have been painted on, or very near, the Parmly property, looking across the Navesink River with the Highlands on the left. On the back it is inscribed:
The painting is now in the collection of the Marsh-Billings-Rockefeller National Historical Park in Woodstock, Vt.
This is the view that Kensett recorded in his important series of Shrewsbury River paintings, including the masterpiece in the collection of the New York Historical Society. Whether it was the first time he painted this particular scene is not known. Aside from any artistic intentions Kensett may have had, the Shrewsbury River view probably evoked memories of serene summer days, a vast country estate, its family and guests, and perhaps even the laughter of the three Parmly daughters floating on an ocean breeze. Kensett, a lifelong bachelor, was apparently as fond of Mary, the second oldest Parmly daughter, as he was of Louisa and Julia. It seems likely that Mary would also have received a painting, though it is not immediately locatable.
Mary Parmlys affection for Kensett, however, seems certain. At Kensetts funeral in December 1872, Mary (then married to Charles Ward, a New York banker) came to pay her last respects. Jervis McEntee recorded the scene in his diary, online at the Smithsonian Archives of American Art: