Author Archives: Julie Mellby

Henry Martin 1925-2020

Henry Martin ’48, Sneaking in to say ‘thanks’…, no date. Pen and marker drawing. Henry Martin Cartoon Collection GAX2011.00353. Gift of David K. Reeves ’48.

Philadelphia Inquirer, March 4, 1979

Just 15 days shy of his 95th birthday, New Yorker cartoonist Henry Martin ’48 quietly passed away on Monday evening. An artist of gentle humor and keen insight, Martin also curated the first online exhibition for the Princeton University Library in 1996, proving a talent for many generations. For that show, he wrote:

…Two of America’s most articulate humorists were E. B. White and James Thurber, who were friends and colleagues at The New Yorker magazine, where they shared an office. “Humor,” remarked Thurber, “is emotional chaos remembered in tranquility,” and E. B. White observed, “Humor can be dissected, as a frog can, but the thing died in the process and the innards are discouraging to any but the pure scientific mind.” I often think of these two when I am studying cartoons and have come to appreciate their sound advice. So, I will not perform any dissections here, but will present a sampling of comic art along with my views on its methods and its mission.

Born in Louisville, Kentucky, Martin traveled north to Princeton University where he lived in Witherspoon, Pyne, and Patton while studying art history and writing a senior thesis entitled “A Study of Humorous Art” (

After college Martin spent two years at the American Academy of Art in Chicago. It was there he began sending “spot” drawings to The New Yorker, mailing ten a week for nine months before finally selling one. By the second year, he was supporting himself with his art.



Returning to Princeton, the small stucco house on William and Charlton Streets was a perfect fit for his drawing table and tea kettle, so that became his studio. Not content with only drawing spots, in 1961 Martin began also submitting approximately 20 cartoons each week. This had to be done in person so each Wednesday he would get on the bus at Palmer Square and ride into Manhattan, walking the few blocks to The New Yorker’s office at 25 West Forty-third Street. You could either drop them off, returning later to pick up the rejections or if you were brave, you could stay with the work while the editor considered them. Martin usually stayed.

Today there’s a “Literary Landmark” plaque in front of the building with Martin’s name alongside the other cartoonists.

“That’s Harry Phillipaton and his wild imaginings.”

Late in 1964 he sold his first cartoon and in 1965 two more. Martin became one of the regulars, producing 20 cartoons each week to which The New Yorker had first refusal. Second refusal went to the Chicago Tribune-New York Daily News syndicate, followed by Punch, Ladies Home Journal, Saturday Evening Post, and others.

Martin’s first book Good News/Bad News was published in 1977 by Charles Scribner without a meeting or a sales pitch. The artist simply left an envelope with the building’s doorman containing a book he mocked up with cartoons pasted to each page. Scribner called him personally and by the end of the call, a two book contract was assured.

The Graphic Arts Collection is proud to hold over 500 original cartoon drawings by Martin, along with 670 pen and ink drawings for the spots, a complete set of his illustrated books, scrapbooks, tear sheets, and other archives. An oral history and his senior paper can be found in Mudd Library.


He will be missed by one and all.

Klan shocked to find Borglum is Catholic; Catholics shocked to find his angels are female


Not long after John Gutzon de la Mothe Borglum (1867-1941, famous for carving Mount Rushmore) finished sculpting dozens of gargoyles for Princeton University’s Class of 1879 Hall at the request of his friend Woodrow Wilson, Borglum was commissioned to sculpt a series of angels for the Cathedral of St. John the Divine. As the project neared completion, Catholic officials were surprised to find many of his angels were female. This led to a heated public debate over the gender of angels, repeated in newspaper across the country.

Borglum was told to replace the female angels. An impassioned dialogue followed, ending with the artist smashing the molds for several of the figures.  “I felt like a murderer,” he confessed afterward, “but that was the only thing to do under the circumstances.” –“The Sex of Angels,” Current Opinion, Volume 39 (1905). Eventually Borglum sculpted new molds and then, publicly declared they were poorly cast and did not want his name connected with them.




The controversy led to enormous publicity, national fame for the sculptor, and in 1910, Woodrow Wilson presented Borglum with an honorary master’s degree for service to the University. His next major commission was to carve relief statues of Robert E. Lee, Stonewall Jackson, and Jefferson Davis on the Stone Mountain, hired by the United Daughters of the Confederacy. Originally the frieze was to include an altar to the Ku Klux Klan but this plan was later dropped (See the Stone Mountain Sculpture and Memorial Hall as originally projected on the left).

In 1925, when a dispute arose between Borglum and the managing association. the sculptor once again smashed the models he had completed. He quickly moved on to begin the carving of the famous Mount Rushmore quartet.

For more, read: “The Sordid History of Mount Rushmore: The sculptor behind the American landmark had some unseemly ties to white supremacy groups” by Matthew Shaer in Smithsonian Magazine October 2016. Also recommended: Debra McKinney, “Stone Mountain: A Monumental Dilemma: Some see the monument as “the largest shrine to white supremacy in the history of the world.” Intelligence Report, Southern Poverty Law Center, Spring 2018.

In 1924, the National Alumni Committee of Princeton donated $1,000 to support the project.

“In the early going,” writes John Taliaferro, “the Klan contributed money directly to the Stone Mountain Confederate Monumental Association, a number of whose members were active Klansmen. While there seems to be no extant proof that Borglum officially joined the Klan himself—that he took the secret oath or donned a hooded robe—he nonetheless became deeply involved in Klan politics, as they related to Stone Mountain and on a national scale as well. He attended Klan rallies, served on Klan committees, and endeavored to play peacemaker in several Klan leadership disputes (with mixed results).

… The Kloran, the Klan’s book of rules, demanded that members be native born, white, male, and Gentile. And after World War I, the Klan’s Kreed became increasingly white supremacist, anti-Catholic, anti-Semitic, anti-labor, anti-alien.” — John Taliaferro, Great White Fathers: The Story of the Obsessive Quest to Create Mount Rushmore (2007).


It is perhaps ironic that a scandal emerged within the Klan leadership when they found out Borglum was a Catholic.



Secret Journal of a Self-Observer

Johann Caspar Lavater (1741-1801), Secret Journal of a Self-Observer;or, Confessions and familiar Letters of the Rev. J. C. Lavater… Translated from the German Original, by the Rev. Peter Will, Minister of the Reformed German Chapel in the Savoy… (London: Printed for T. Cadell, Jun. andW. Davies (Successors to Mr. Cadell)… [1795]). Early ownership inscriptions, in ink and pencil, of Henrietta Siffken and with pencil notes throughout; with an original pen-and-ink drawing of Lavater bound in as a frontispiece, “given by his Son to Mrs C. Beazley.” Graphic Arts Collection GAX 2020- in process.


The first English translation of: Johann Caspar Lavater (1741-1801), Geheimes tagebuch von einem beobachter seiner selbst (Leipzig: Weidmanns erben und Reich, 1771-73) is notable for the pen and ink drawing on the frontispiece attributed to Johan Heinrich Lips (1758-1817) as well as for the text never meant to be widely circulated.

Preface of the translator:

“The present Translation, which originally was intended to be circulated only in manuscript, among some admirers of Mr. Lavater, would certainly never have been intruded on the Public, if the Translator were not fully persuaded, that its great utility will overbalance its many defects, and contribute to propagate piety and Religious prudence, for which purpose he recommends the perusal of it particularly to his congregation, who always have displayed the most laudable desire to improve in Christian knowledge and virtue. . .”

“…Mr. Lavater’s manner of expressing his ideas, being as extraordinary as his manner of thinking, those who are not intimately acquainted with the writings of this eccentric, but truly venerable man, will easily be induced to mistake for a foreign idiom what, in reality, is an idiom of the Author, and could not be exchanged for a genuine English one, as it is the peculiar characteristic which distinguishes his way of thinking.”

The Swiss minister Johann Caspar Lavater (1741-1801) was convinced that the science of physiognomy made it possible to know about a person’s interior self from their exterior body. This included both the physical skull itself and the visual representation of it. He published his beliefs in three major editions, Physiognomische fragmente (1775-78) RBSC Oversize 6453.568.15q, Essai sur la Physiognomonie (1781-1803), and Essays on Physiognomy (1788-99) GAX Oversize 2007-0002Q. Johan Heinrich Lips (1758-1817) was the principal engraver of the plates, working from his own drawings and after drawings by Georg Friedrich Schmoll. Lavater’s close friend Henry Fuseli (1741-1825) added a few illustrations and brought in the young William Blake (1757-1827) to complete a few additional plates.

William Blake, Johann Caspar Lavater, 1800. Engraving and etching. Graphic Arts Collection


Shopping at Walter Schatzki’s on 57th Street

Back in April 2020, when we were all desperately searching for online resources to finish the semester’s work, we posted the British Museum’s portrait print by Wenceslaus Hollar (1607-1677), Vera Effigies, Rich. Bernard [Richard Bernard, 1568-1641], 1641.

Within a day a cheerful email appeared that began,

“Yesterday’s post about Richard Bernard with his portrait by W. Hollar especially caught my eye, as we have the etching, purchased at Walter Schatzki’s on 57th St. in October 1967 when I was a graduate student. We bought several prints from Schatzki around that time. Professor Koch had recommended him and his wonderful shop as a place for undergraduates to buy inexpensive but interesting works. We paid $6.67 for the print (the sheet of paper is 20.3 cm. high by 13.8 cm. wide), on sale for 1/3 off. Beyond my liking of the print as a work of art, I suppose I have thought Bernard might have resembled New England Puritans.”

With sincere thanks to William and Sally Rhoads (and to Walter Schatzki), that $6.67 etching is now in the Graphic Arts Collection, where it will certainly be used by a new generation of students and faculty.

When Walter Schatzki’s Book and Print Shop closed in 1976, John Russell wrote a long article in the New York Times praising the dealer:

All over New York, and for that matter all over the world, there are people in ones and twos who swear by Walter Schatzki, and by the print‐cum‐bookstore he runs at 153 East 57th Street. Some of them are big‐time collectors who can write a check for 550,000 and not think twice about it. But most of them are people who go to the store because they know that even if they have only 50 cents to spend they can come away with something they like and be treated exactly as if they were Paul Mellon himself. All these enthusiasts—the experts and the beginners, the rich and the not so rich —have had bad news. On July 1 Mr. Schatzki is closing his store. “My lease is up,” he said the other day. ‘My rent would be almost tripled. I don’t feel like moving.

. . . Walter Schatzki has been crazy about books since 1910, when he hung around the bookstore in the town of Siegen, not far from Cologne, where he was born. And he has been in the business since 1919, when as a tall and very young man, already bespectacled, he went from village to isolated village in his native Germany with a violin in one hand, and a pack full of cheap good books on his back. “I went from fair to fair, and I would play my violin. People gathered round, and sometimes they sang a song or two, and then I opened my pack of books, and people would buy a book who had never seen a bookstore, let alone walked into.


Wenceslaus Hollar (1607-1677), Vera Effigies, Rich. Bernard [Richard Bernard, 1568-1641], 1641. Etching. Inscribed in the design, u.l., ‘Ætatis suæ 74’. Inscribed in the plate, l.l. to l.r., ‘Vera Effigies RICH. BERNARD vigilantis/ simi Pastoris de Batcombe Somrset: Ao; 1641’; l.c. to l.r., ‘W:Hollar. Bohem, ad viuum del: Londini:’ Gift of William and Sally Rhoads. Graphic Arts Collection GAX 2020- in process

Hollar’s 1641 print appears as a frontispiece in the subject’s 1644 book (and perhaps others):

Richard Bernard (1568-1641), Thesaurus Biblicus seu promptuarium sacrum, whereunto are added all the marginall readings, with the words of the text, and many words in the text expounded by the text, all alphabetically set downe throughout the Bible. In the end is annexed an abstract of the principal matters in the Holy Scripture (London: Imprinted by F. Kingston, 1644).


Richard Pennington A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar, 1607-1677. Cambridge University Press, Cambridge, 1982, cat. no. 1363 only state.

Simon Turner Wenceslaus Hollar: New Hollstein German engravings, etchings and woodcuts, 1400-1700. Giulia Bartrum, vols. 1-9, 2009–2012, cat. no. 337 only state.


Pilori-Phrenologie = Phrenology Pillory

Guillaume-le-Boucher = Wilhelm the Butcher is a French caricature of Prussian King Wilhelm I. The verse below the image mentions the dream of a “United States of Europe” (this is a detail, the whole sheet is below).

[Above] André Belloguet (1830-1873), Pilori-Phrénologie ([Paris: variously signed Imprimerie Marchandeau and Lith. Fraillery r. Fontaines 9, Propriéte de l’Auteur]. 1870). Provenance: Collection de Louis Bretonnière. Graphic Arts Collection GAX 2020- in process

[ Left] André Belloguet (1830-1873), Pilori-Eternel (Paris, [variously signed Imp. Grognet, Lith. Fraillery et Cie Pte de l’Auteur].1871). 3 color lithographs. Provenance: Collection de Louis Bretonnière. Graphic Arts Collection GAX 2020- in process


Best known for his anthropomorphic maps (not owned by Princeton), André Belloguet also produced a rare series of satirical caricatures morphing various words, figures, and objects into celebrated faces, creating phrenology pillory or facial embarrassment. The Graphic Arts Collection recently acquired two volumes from the collection of Louis Bretonnière. Bound in two volumes, the first with 13 lithographs, all but one colored, and the second with 3 lithographs. Each portrait includes four lines of satirical verse written below, presumably also by Belloguet.

The first volume includes: 1. Napoléon III; 2. Pie IX; 3. Olivier Iscariote; 4. SS. Guillaume le Boucher; 5. Bismarkoff Ier; 6. Bazaine de Metz; 7. Rouher le Mignon; 8. Pierre l’Assassin; 9. Bonaparte le Corse; 10. Trochu de Paris; 11. Thiers l’Ancien; Pl. 12. Le Bœuf; 13. Favre dit le Grand Jules (the only plate uncoloured).

The next series, Pilori-Éternelis includes: 1. Qui… ???; 2. La Bouteille à l’encre; and 3. Le Prussien de l’intérieur.

Celebrating LGBTQ Pride Month: Whitman and Eakins

At 2:00 p.m. on Friday, June 26, 2020, you are invited to join the second live webinar highlighting Special Collections at Firestone Library, Princeton University. Register here. The topic, “Thomas Eakins and the Making of Walt Whitman’s Death Mask,” was chosen specifically for June, LGBTQ pride month and this year, the 50 anniversary of the first march. Both Walt Whitman (1819-1892) and Thomas Eakins (1844-1916), in their own way, broke down barriers around sex, sexuality, and the celebration of the human body, working in staunch opposition to the genteel status quo of the 19th century. Their friendship did not begin until the last five years of Whitman’s life but once they met, Eakins became a frequent guest at the poet’s Camden, New Jersey, home where Whitman was chiefly confined.

Their lives were punctuated by scandal and national disgrace, followed by even worse, periods of neglect. Just as Whitman faced rejection by publishers and critics, Eakins endured equal censure from curators and collectors. Yet each found a way to work independent of institutional patronage and pursue their own search for truth. Whitman wrote, “I never knew of but one artist, and that’s Tom Eakins, who could resist the temptation to see what they think ought to be rather than what is.”

For his part, Eakins painted a self-portrait that echoes the pose, the hue, and the sentiment in the portrait he painted of Whitman, visually coupling their images for eternity.

. . . Several months before Whitman’s death, Eakins and his partner went to Camden to practice on Whitman himself, casting his right hand in plaster. They probably left supplies in his home, anticipating what would soon be necessary. On March 26, 1892, Eakins and Sam Murray were notified of the poet’s death and early the next morning crossed the Delaware River to his house.

Working slowly and carefully over three hours, they gently oiled Whitman’s face and body, thickly coating his beard and eyebrows so they wouldn’t stick to the plaster. His ears, brows, and other features would be sculpted later and added to various plaster casts. Molds were made of the front and back of the head along with Whitman’s shoulders so a complete bust could be formed.

There is more to the story. Please join us. For a zoom address, just register here. We are holding this early in the afternoon so as not to distract from protests or demonstrations later in the day. Thanks.

European wood engraving VS Japanese woodblock printing VS multi-color woodcuts

Here are three videos that take you through several relief carving techniques, including the transfer of the design to the block, the tools used in cutting, various ways of inking, proofing, and the transfer of the image onto paper. None of the videos are new but worth a reminder they are available. See especially the third, showing the difference between printed color, painted color, and transfer color.
How to make a wood engraving by Anne Desmet
Posted Oct 6, 2016 by the Royal Academy of Arts, London

“There’s something magical about the centuries-old art of wood engraving, in which an artist uses the same tools used to engrave jewellery to create extraordinarily detailed prints. Anne Desmet RA is one of only three wood engravers to be elected as Academicians in the Royal Academy’s nearly 250-year history. Here, she takes us through each step in creating a wood engraving, from tracing the original drawing through to printing a first proof.”
Making a Japanese woodblock print by Amy Macpherson
Posted July 19, 2016 by the Royal Academy of Arts, London

“In this video, Rebecca Salter RA explains the traditional tools and techniques used by the Sato Woodblock Workshop in Kyoto when creating her print for the Summer Exhibition 2016. Salter RA studied Japanese woodblock printmaking during the six years she spent living in Japan. A passionate advocate of this traditional craft, she commissioned the Sato Woodblock Workshop in Kyoto to produce her limited-edition print Tessella 1 and 2 for the Summer Exhibition 2016. In the video below, she gives a step-by-step introduction to the art of Japanese woodblock printing.”
Gauguin’s Process: Making Wood-Block Prints
Posted Jul 5, 2017 by the Art Institute of Chicago

“This video from the exhibition “Gauguin: Artist as Alchemist” breaks down Gauguin’s process for making wood-block prints step by step. Follow along to discover how the artist carved and printed blocks to make works like those in the Noa Noa Suite. To delve deeper into Gauguin’s processes, visit the online publication Gauguin: Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago, available at”

Greenwich Village, Civil Rights and Social Justice Map

Congratulations on the 40th anniversary of the Greenwich Village Society for Historic Preservation (GVSHP), which launched a new website yesterday at: One of their amazing new resources is the Civil Rights and Social Justice Map, along with archives and research materials:

Village Preservation offers a variety of tools to help you learn more about the history and culture of their neighborhoods, written by the people who live there:
• Greenwich Village Historic District Map and Tours
• Civil Rights and Social Justice Map
• East Village Building Blocks
• Historic Image Archive
• Oral Histories
• Preservation History Archive
Research & Education
• Neighborhood History
• Designation Reports
• Property Owners and Researchers
• Kids’ Education
• Allied Organizations

There is an archive to their newsletters, with information on the preservation of individual buildings as well as neighborhoods:

Both image and oral history archives:

As well as photographs of individual Greenwich Village celebrities:

All walking tours are currently virtual but will hit the streets again as soon as it is safe.

The Analyst Besh[itte]n, in His Own Taste

Paul Sandby (1731-1809), The Analyst Besh[itte]n, in His Own Taste, ca. 1753. Etching. Graphic Arts Collection GAX 2020- in process

The Analysis of Beauty, first published by William Hogarth (1697-1764) in 1753, was an attempt to describe the artist’s theories of visual beauty in a manner accessible to the common man. Not everyone was persuaded of the book’s success, especially Hogarth’s younger rival Paul Sandby (1731-1809), who lost no time in making fun of the old master.

In truth, they disagreed about many things, including The St Martin’s Lane Academy, a drawing club Hogarth organized in 1735. The Academy prized new ideas over traditional styles and operated under a democratic rule that allowed everyone to have an equal vote, down to the poses their model would take. But in 1853, the Academy began to change under various leaders, moving and eventually closing 1871 to form the Royal Academy of the Arts, which Sandby joined. Hogarth did not.

Sandby lampooned Hogarth and his artistic theories in a series of satirical etchings dubbed “The Analysis of Deformity.” Writing for the New York Times, Souren Melikian noted that “Humor does not age well. Seen with a modern eye, Sandby’s satirical etchings are unamusing and the texts intended to be witty seem immature in their crudeness. But the art historical interest of the prints is unquestionable. They confirm Sandby’s astonishing ability to practice with great ease genres at opposite ends of the aesthetic spectrum.”

Depending on how you interpret them, Sandby may have published as many as eleven prints against Hogarth (although some can be interpreted as jokes on other artists) including Hogarth Vindioated; Burlesque sur le Burlesque; A New Duneiad; Puggs Graces; The Analyst, &c.; The Author run Mad; A Satire, &c.; The Magic Lantern; The Painters March; Mountebank Painter; and A Stir in the City, &c.

The Graphic Arts Collection recently acquired one  of these prints caricaturing The Analysis of Beauty, titled The Analyst Besh[itte]n, in His Own Taste, ca. 1753. Although the condition of this sheet is not perfect, the contents are highly desirable and outshines the surface imperfections. There are two editions of this print. The reference table etched at the foot of the first is :— “A. Dianas Crescent B. a Multiplying Glass. 0. a Modern Cherubim 76 a Gammon of Bacon 14 Rays of Light 4 Beauty stays 68 jack boot”. On the second the following is added :——“ n. a Disciple unable to find out the Meaning of y’ Book 1!: the Daubers Face shewn (by a Satyr) in proper Colours 1. his hour is out 2, a Bust of Raphael Destroyd for pugs Wig block “.

Notice the numbers on the figures, beginning with Hogarth, who sits with a copy of Analysis of Beauty on his lap. The references beneath the design are as follows :  1. an Author Sinking under the weight of his Saturnine Analysis ; 2. a Strong support bent in the Line of Beauty by the Mighty Load upon it ; 3. Lomazzos Ghost detecting the Fraud, bearing the Line of Beauty in one Hand. in the other Hand, his Treatise on Painting. ; 4. Deformity Weeping at the Condition of her Darling Son. ; 5. a Friend of the Author endeavouring to prevent his sinking to his Natural Lowness. ; 6. his Faithful Pugg, finding his Master by the Scent. ; 7. a Greyhound bemoaning his Friends Condition. ; 8. The Authors Friend and Corrector Astonishd at the sight of the Ghost and smell of the Author. 9. a Disciple droping the Palate and Brushes thro’ Concern for his Masters forlorn state. ; 10. Volum’s of his Analysis Thrown into the Caves of Dulness and Oblivion. ; 11. a Public Academy Erecting in spight of his endeavours to prevent it. Lomazzo’s speach, ‘Thou Ignorant Contemptable wretch how hast Thou mangled Q‘ perverted the Sense of my Book, in thy Nonsensical Analysis.

Thanks to the British Museum, some of the other Sandby satires of Hogarth include:



Obsolete ideas from 1805: Single ladies, vulgarly called old maids

Eliza Browne, Obsolete Ideas, in Six Letters Addressed to Maria By a Friend (Sherborne: for the author by James Langdon, 1805). Graphic Arts Collection GA 2020- in process.

If the contents of this small volume written by a women to a female reader were not appealing enough, the provenance of a female owner,  Catherine P[ayton] Fox, (inscribed on the title page with her label on front pastedown), makes it extra desirable.

Eliza Browne, identified in the fourth edition of her work, wrote six letters giving advice to a younger women. This is not your usual etiquette book or guide to modern manners. It would be interesting to compare all four editions to see if the advice changes over the years.

“Under this singular title, are comprised some shrewd and useful observations on the relative conduct of parents and children; the fashionable dissipation of young men, who have been piously educated; the respect due to aged persons; chaste women, and women of character; on the poor in general; and on single women. To the latter two classes, the fair author, though apparently allied to neither, is in every respect very charitably disposed. In proof that a deserving person may be reduced even to beg in the streets, she relates a very pleasing and pathetic story… No part of the short table of contents, probably, may excite the curiosity of our readers, so much as the distinction between chaste women and women of character.”–The Eclectic Review, vol. II, part 1, 1806, pp. 148-49

“Courteous, candid, and gentle Reader,” Eliza begins, “those are epithets that must sound very strange in modern ears, but the writer of the following pages cannot by any means do without them; and as she makes a point of rejecting nothing that may answer her purpose, even though it should have been the fashion of the sixteenth century, it is therefore hoped that the introduction of so obsolete an address with give offence [sic] to [no one].”

The fourth edition of this book introduces yet another women to the mix. It is dedicated to the Viscountess Cremorne, probably Philadelphia Hannah Freame, the daughter of Thomas Freame and Margaretta Penn, fourth daughter of William Penn (1644-1718), the founder of Pennsylvania.

“In 1770 she married the widowed Thomas Dawson (1725-1813), who in that same year was elevated to the Irish peerage, as Baron Dartry of Dawson’s Grove. Dawson was the son of Dublin banker Richard Dawson and his wife Elizabeth Vesey Dawson. From 1749-1768 Thomas Dawson served as a member of Parliament for County Managhan [Ireland].

He was married firstly in 1754 to Lady Anne Fremor, daughter of the first Earl of Pomfret, with whom he had a son and a daughter. Dawson and his second wife had a son and daughter as well. In 1795 he was made Viscount Cremorne, and in 1797 he became Baron Cremorne of Castle Dawson.

Dawson was a patron of the arts and a collector of paintings. Gilbert Stuart painted his portrait, as well as that of the Viscountess, and he was included on Stuarts’ 1895 list of those patrons who were to receive copies of the artist’s portrait of George Washington (although it is unknown whether he actually received one).”–National Gallery of Art, Washington D.C.


Gilbert Stuart, Portrait of ‘Philadelphia Hannah’, ca. 1785. Oil on canvas. Philadelphia Academy of the Fine Arts 1999.11