Rare Depictions Of Early America By Pioneering Woman Artist And French Refugee At New-York Historical Society

Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, November 1, 2019 – January 26, 2020

Artist in Exile: The Visual Diary of Baroness Hyde de Neuville sheds light on this fascinating artist, whose life reads like a compelling historical novel.

This fall, the New-York Historical Society introduces visitors to a little-known artist whose work documented the people and scenes of early America. Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, on view November 1, 2019 – January 26, 2020 in the Joyce B. Cowin Women’s History Gallery of the Center for Women’s History, presents 114 watercolors and drawings by Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849). Self-taught and ahead of her time, Neuville’s art celebrates the young country’s history, culture, and diverse population, ranging from Indigenous Americans to political leaders. Curated by Dr. Roberta J.M. Olson, curator of drawings at New-York Historical, this exhibition is the first serious exploration of Neuville’s life and art—showcasing many recently discovered works including rare depictions of European scenes and people at work, a lifelong sociological interest—and is accompanied by a scholarly catalogue.

Baroness Hyde de Neuville’s status as a woman, an outsider, and a refugee shaped her view of America and Americans, making her a particularly keen and sympathetic observer of individuals from a range of socioeconomic and ethnic backgrounds,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “Neuville could never have envisioned that her visual diary—created as a personal record of her travels and observations of early America—would become an invaluable historical document of the early republic. Yet her drawings vividly evoke the national optimism and rapid expansion of the young United States and capture the diversity of its inhabitants.”

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Self-Portrait (1771–1849), ca. 1800–10 Black chalk, black ink and wash, graphite, and Conté crayon on paper New-York Historical Society, Purchase, 1953.238
Born in France into an aristocratic family, Neuville received an education that probably included drawing lessons. In 1794, she married royalist Jean Guillaume Hyde de Neuville during the unsure times of the French Revolution. In 1800, the couple was imprisoned and forced into hiding. The future baron was condemned as an outlaw for his alleged participation in a plot to assassinate Napoleon.
Fearing for her husband’s safety, the independent baroness attempted to disprove the charges. In 1805, she took her cause directly to Napoleon, pursuing the French Army across Germany and Austria and finally obtaining an audience with him in Vienna. Impressed with her courage, the Emperor allowed the couple to go into exile. They arrived in New York in 1807 and stayed for seven years. During their second residency (1816–22), when her husband served as Minister Plenipotentiary, they lived primarily in Washington, D.C., where Henriette became a celebrated hostess and cultural figure.

Born to an aristocratic family in Sancerre, France, Henriette married ardent royalist Jean Guillaume Hyde de Neuville, who became involved during the French Revolution in conspiracies to reinstate the Bourbon monarchy and was accused of participating in a plot to assassinate Napoleon. In an effort to disprove the charges against her husband, the baroness took her cause directly to Napoleon, who was impressed with her courage and allowed the couple to go into exile. They arrived in New York in 1807 and stayed for seven years. During their second American residency (1816–22), when her husband served as French Minister Plenipotentiary in Washington, D.C., Henriette became a celebrated hostess. John Quincy Adams described her in his diary as “a woman of excellent temper, amiable disposition… profuse charity, yet judicious economy and sound discretion.” In 1818, she presciently stated that she had but one wish “and that was to see an American lady elected president.”

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Peter of Buffalo, Tonawanda, New York, 1807 Watercolor, graphite, black chalk, and brown and black ink with touches of gouache on paper New-York Historical Society, Purchase, 1953.220
Neuville identifies her sitter as “Peter of Buffalo.” The word “tonaventa” refers to nearby Tonawanda, site of the Tonawanda Seneca Reservation. Neuville’s sitter has manipulated ear lobes pierced with one earring, which, like his bare feet, are traditional for Seneca tribesmen. He wears hybrid apparel: an undershirt, a fur piece, and leggings with garters, and carries a trade ax known as a halberd tomahawk, a knife, and a powder horn—as well as a string of wampum.
Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Pélagie Drawing a Portrait, from the “Economical School Series”, 1808 Black chalk, gray watercolor, graphite, and pink gouache on blue paper New-York Historical Society, Gift of Mark Emanuel, 2018.42.21
Neuville sketched studies of students at the Economical School (École Économique), the couple’s major contribution to cultural life of New York City. Incorporated in 1810, its mission was to educate French émigrés and fugitives from the French West Indie, and to offer affordable education to impoverished children. Its five board members included the future baron, who was secretary, as well as members of the New-York Historical Society. The baron admired American charity schools and wanted to provide the same opportunities to children and adults of both sexes. The baroness’ drawings of its students are the only visual evidence of this significant institution.

Artist in Exile follows Neuville’s life, reconstructing her artistic education and tracing her artistic practice, which included portraiture, landscapes and cityscapes, ethnographic studies, botanical art, and other genres. Highlights of the exhibition include Neuville’s views of the Hudson and Mohawk rivers, street scenes of her neighborhood (now known as Tribeca), a watercolor documenting an “Indian War Dance” performed for President Monroe, and portraits of subjects ranging from Indigenous Americans to immigrant students at a Manhattan school founded by the Neuvilles. The exhibition opens with Neuville’s miniature self-portrait (ca. 1800-1810) that was likely created for her husband to carry on his travels. Pictured wearing a fashionable daytime empire-waist dress over a chemisette, fingerless mitts, and hoop earrings, the baroness looks away, not engaging the viewer as is customary with self-portraits that are drawn using a mirror because she based it on another study.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Martha Church, Cook in “Ordinary” Costume, 1808–10 Watercolor, graphite, black chalk, brown and black ink, and touches of white gouache on paper New-York Historical Society, Purchase, 1953.276
Neuville’s inscription identifies the sitter as a cook named Martha Church, dressed in everyday attire. Neuville endowed the subject with dignity. It is unclear whether Church, a black woman, was a free domestic or a slave, or whether she was of Caribbean or African descent. Many of the artist’s works demonstrate a sociological interest and celebrate work.

Upon first reaching the United States, the Neuvilles journeyed up the Hudson River and to Niagara Falls, where Henriette was one of the first to record many early settlements, buildings, and rustic scenes. In the watercolor Distant View of Albany from the Hudson River, New York (1807), she drew the panoramic view from the sloop Diana as it traveled downriver from Albany, chronicling the river long before artist William Guy Wall’s renowned Hudson River Portfolio (1820–25). The atmospheric vista conveys the majestic sweep of the Hudson and the reflections on its surface. In Break’s Bridge, Palatine, New York (1808), Neuville, who was intrigued by engineering and technology, depicts a newly constructed Mohawk River bridge destroyed by rushing waters. The couple in the foreground of the image is the Neuvilles, with their pet spaniel, Volero.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771– 1849) Distant View of Albany from the Hudson River, New York, 1807 Watercolor, brown ink, black chalk, and graphite with touches of gouache on paper New-York Historical Society, Purchase, 1953.242
Neuville drew the panoramic view from the sloop Diana, traveling downriver from Albany. Her atmospheric vista conveys the majestic sweep of the Hudson River, together with reflections on its surface. Albany became the state capital in 1796. Her works recording the river importantly predate The Hudson River Portfolio (1820–25).

Neuville also captured vivid views of New York City residents and buildings—many of them long since demolished—bringing to life the burgeoning urban center and its ethnically diverse population. Corner of Greenwich Street (1810) represents a scene at the intersection of Greenwich and Dey streets. Near the cellar hatch of the brick house at the center stands an Asian man, who may be the Chinese merchant Punqua Winchong, making this work one of the earliest visual records of a Chinese person in the United States.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771– 1849) Indian War Dance for President Monroe, Washington, D.C., 1821 Watercolor, graphite, black and brown ink, and gouache on paper Colonial Williamsburg Foundation, Abby Aldrich Rockefeller Folk Art Museum
Neuville’s scene depicts the “Indian War Dance” performed during the visit of a delegation of 16 leaders of the Plains Indian tribes to President James Monroe at the White House on November 29, 1821. The delegation included representatives of the Pawnee, Omaha, Kansa, Ottoe, and Missouri tribes. Neuville, who was in attendance, recorded the event, portraying at the left Hayne Hudjihini (Eagle of Delight), one of the five wives of halfchief Shaumonekusse (Prairie Wolf), wearing the horned headdress. In the upper background she sketched Monroe with his four companions, including the baron wearing a feathered bicorne hat.

The Neuvilles contributed to the cultural life in New York as co-founders of the École Économique (Economical School), incorporated in 1810 as the Society of the Economical School of the City of New York. Its mission was to educate the children of French émigrés and fugitives from the French West Indies and to offer affordable education to impoverished children. Henriette sketched the students at the school, and many works from the “Economical School Series” are on view in the exhibition, including the recently discovered life size portrait, Pélagie Drawing a Portrait (1808), which demonstrates the school’s emphasis on drawing. Her series is the only visual record of the school’s existence.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771– 1849) Corner of Greenwich Street, 1810 Watercolor, graphite, and touches of black ink on paper New York Public Library, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, Stokes 1810-E17b
Neuville’s watercolor records Greenwich Street running perpendicular to Dey Street, where the Neuvilles lived. Nothing remains of this neighborhood, which would be occupied by World Trade Center. Near the cellar hatch of the brick house at the center stands an Asian man. He may be the Chinese merchant Punqua Winchong, who was in New York and Washington in 1807–08, and who attended one of the Neuvilles’ famous Saturday parties on March 28, 1818. This work is one of the earliest visual records of a Chinese person in the U.S.

The couple returned to France in 1814 after the fall of Napoleon and the restoration of King Louis XVIII and the Bourbon monarchy. In 1816, Louis XVIII appointed the baron French Minister Plenipotentiary, and the Neuvilles returned to the U.S., settling in Washington, D.C. They became renowned for their lavish Saturday evening parties and their friendships with President James Monroe and James and Dolley Madison. Among the notable events the Neuvilles attended was an “Indian War Dance,” performed by a delegation of 16 leaders of the Plains Indian tribes in front of President Monroe and 6,000 spectators at the White House on November 29, 1821. Neuville’s watercolor documenting the event includes likenesses of half-chief Shaumonekusse (Prairie Wolf) and one of his five wives, Hayne Hudjihini (Eagle of Delight). Later, the “War Dance” was also performed at the Neuvilles’ house.

Neuville’s portraits of individuals celebrate the ethnic and cultural diversity of the early American republic, and her portrayals are notable for their ethnographic integrity and avoidance of stereotypes. In the portrait of Peter of Buffalo, Tonawanda, New York (1807), the sitter has ear lobes pierced with earrings and bare feet, traditional for Seneca tribesmen. Wearing an undershirt, a fur piece, and leggings with garters, he carries a tomahawk, a knife, a powder horn, and a string of wampum. In the portrait Martha Church, Cook in “Ordinary” Costume (1808–10), Neuville depicts a cook in her everyday attire, as part of the artistic tradition of occupational portraits that originated in Europe and appeared in New York in the early 19th century.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Tomb of Washington at Mount Vernon, Virginia, 1818 Watercolor, graphite, black chalk, and brown ink on paper Colonial Williamsburg Foundation, Abby Aldrich Rockefeller Folk Art Museum
After George Washington’s death in 1799, his remains were placed in a family vault at Mount Vernon. During the Neuvilles’ second residency, the national hero’s tomb became an obligatory tourist stop. Unlike many other representations, Neuville included a view of the main house with its veranda overlooking the Potomac River, together with a unique anecdotal incident: a caretaker opens the vault’s wooden door to reveal stacks of coffins belonging to the Washington family. In 1831, a new family tomb was constructed, and the coffins were transferred to its vault.

The exhibition features works from New-York Historical’s collection, the most extensive in the world, as well as important loans from the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the New York Public Library, the Miriam and Ira D. Wallach Division of Art, Prints and Photographs; the Museum of the City of New York, Colonial Williamsburg Foundation Abby Aldrich Rockefeller Folk Art Museum, Hagley Museum and Library, and Princeton University, Firestone Library, Rare Books and Special Collections, Graphic Arts Collection.

Publication and Programming
Accompanying the exhibition is the scholarly publication Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, published by GILES, an imprint of D Giles Limited. Written by Dr. Roberta J.M. Olson with assistance by Alexandra Mazzitelli, the publication also features an essay by Dr. Charlene M. Boyer Lewis.

A gallery tour of Artist in Exile, led by curator Roberta J.M. Olson, takes place on January 6. In honor of the baroness’ heritage, several French movies will be shown as part of New-York Historical’s Friday night Justice in Film series: 1938’s The Baker’s Wife on November 8 and 1946’s Beauty and the Beast on December 6. On select weekends throughout the exhibition’s run, young visitors can explore the baroness’ life and the art she created with touch objects and Living Historians.

The Robert David Lion Gardiner Foundation provided lead funding for Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, with important support given by the Wyeth Foundation for American Art. Additional support provided by Furthermore, a program of the J.M. Kaplan Fund; the Greater Hudson Heritage Network; Nicole, Nathan, and Brian Wagner; Helen Appel; Pam Schafler; David and Laura Grey; and Myron and Adeline Hofer.

Macy’s Supports Breast Cancer Research This October With ‘We All Thrive’ Campaign

Join Macy’s by donating change to benefit the Breast Cancer Research Foundation and shopping limited-time product that gives back at macys.com/pinkshop

Macy’s, a proud supporter of the Breast Cancer Research Foundation, is inspiring customers to shop pink this October with its We All Thrive campaign. The program celebrates breast cancer thrivers and empowers customers to support the fight against breast cancer by purchasing their favorite pink products on macys.com at The Pink Shop, or participating in a month-long round up campaign in store.

Pink Shop

Shop The Pink Shop in-store and online at Macy’s this October to support breast cancer Thrivers. Ideology Fight Like A Girl T-shirt, $29.50 (Photo: Business Wire)

Starting today, Macy’s customers can visit The Pink Shop, an online store featuring charitable pink fashion, home and beauty products, available at macys.com/pinkshop. The Pink Shop offers everything from an Estee Lauder bright pink lipstick set and a Movado pink gold tone watch to Peter Thomas Roth rose quartz earrings or a comfy Ralph Lauren graphic sweatshirt. Other brands include Samsonite, Wacoal, Clinique, Bali, Coach, Guess, Alex Woo, Origins and IT Cosmetics. Everyone from Grandma and Grandpa to the little ones in the family can rock their pink style all month long and show thrivers their love.

Shop The Pink Shop in-store and online at Macy’s this October to support breast cancer Thrivers. Ideology Warrior Sherpa Hoodie, $59.50 (Photo: Business Wire)

Now through October, customers can shop Ideology’s special collection of Breast Cancer Awareness Month athleisure styles created for Macy’s. Each piece is complete with inspirational messaging and imagery with the pink ribbon and phrases like “Fight Like A Girl” and “Warrior.” What’s more, with the purchase of an Ideology Breast Cancer Collection item, Macy’s will donate 20 percent of the purchase price to BCRF.

Customer Round-Up Breast Cancer Research Foundation

For the first time, from October 1 to October 31, Macy’s invites customers to participate in the We All Thrive campaign by rounding up in-store purchases to the nearest dollar, up to $0.99 and donating the change to benefit the Breast Cancer Research Foundation, the largest private funder of breast cancer research in the world. Customers can check out in-store visuals plus macys.com/macysgives to read powerful stories of breast cancer thrivers and learn more about BCRF.

Since 2003, Macy’s has funded more than $12.4 million of critical breast cancer research through BCRF, supporting 49 research projects, translating to 249,187 lab hours.

Bud And Beam Are Back With Black

Two American Icons Collaborate for Second Time with Debut of Budweiser Reserve Black Lager

Today, Budweiser and Jim Beam® Bourbon unveiled Budweiser Reserve Black Lager, a limited-supply brew with an ABV of 7.1 percent. This specialty beer marks the second collaboration between Budweiser and Jim Beam, joining Budweiser Reserve Copper Lager, which is back by popular demand.

Budweiser Reserve Black Lager

Jim Beam is the world’s best-selling bourbon, crafted by seven generations of family distillers since 1795. The Jim Beam portfolio of products includes Jim Beam Bourbon, Jim Beam Black, Jim Beam Double Oak, Jim Beam Devil’s Cut, Jim Beam Rye, Jim Beam Peach, Jim Beam Apple, Jim Beam Vanilla, Jim Beam Honey, Jim Beam Kentucky Fire and Red Stag by Jim Beam among other offerings. Budweiser, an American-style lager, was introduced in 1876 when company founder Adolphus Busch set out to create the United States’ first truly national beer brand – brewed to be universally popular and transcend regional tastes. Each batch of Budweiser stays true to the same family recipe used by five generations of Busch family brewmasters.

Budweiser Reserve Black Lager and Budweiser Reserve Copper Lager

Budweiser Reserve Black Lager is aged on six-year Jim Beam bourbon barrel staves for a bolder taste. Black Lager boasts a dark auburn color, an oaky aroma with coffee and chocolate notes, a toasted malt taste, and a deliciously smooth finish.

Budweiser Reserve Black Lager

“Budweiser Reserve Copper Lager proved that when Budweiser and Jim Beam collaborate, good things happen,” said Ricardo Marques, VP of Marketing Core & Value Brands at Anheuser-Busch. “For the second collaboration between Bud and Beam, we wanted to brew something unique that would excite both beer lovers and bourbon aficionados. Budweiser Reserve Black Lager is a bold, bourbon-forward beer that’s perfect for the holidays.”

Budweiser Reserve Black Lager is available nationwide this October through December, while supplies last. Budweiser Reserve Copper Lager is available nationwide through March 2020. Both brews will be available in stubby glass bottles across the country. Black Lager will also be available in a premium 22 oz. bomber bottle gift box.

For more information on Budweiser Reserve, check out Budweiser.com

The Truth Behind The Legend Of Patriot Paul Revere Revealed In A New Exhibition At New-York Historical Society

Beyond Midnight: Paul Revere On View Through January 12, 2020

This fall, the New-York Historical Society explores the life and accomplishments of Paul Revere (1735–1818), the Revolutionary War patriot immortalized in Henry Wadsworth Longfellow’s 1861 poem, “Paul Revere’s Ride.” On view now through January 12, 2020, Beyond Midnight: Paul Revere separates fact from fiction, revealing Revere as a complex, multifaceted figure at the intersection of America’s social, economic, artistic, and political life in Revolutionary War-era Boston as it re-examines his life as an artisan, activist, and entrepreneur. The exhibition, featuring more than 140 objects, highlights aspects of Revere’s versatile career as an artisan, including engravings, such as his well-known depiction of the Boston Massacre; glimmering silver tea services made for prominent clients; everyday objects such as thimbles, tankards, and teapots; and important public commissions, such as a bronze courthouse bell.

Organized by the American Antiquarian Society in Worcester, Massachusetts, and curated by Nan Wolverton and Lauren Hewes, Beyond Midnight debuts at New-York Historical before traveling to the Worcester Art Museum and the Concord Museum in Massachusetts for a two-venue display (February 13 – June 7, 2020) and to Crystal Bridges Museum of American Art in Bentonville, Arkansas (July 4 – October 11, 2020). At New-York Historical, Beyond Midnight is coordinated by Debra Schmidt Bach, New-York Historical’s curator of decorative arts.

Paul Revere Jr. (1735−1818), A View of the Obelisk, 1766. Engraving. American Antiquarian Society, Worcester, Massachusetts; Bequest of Mary L. Eliot, 1927
The Stamp Act of 1765 was the first tax levied on the American colonies by England, requiring colonists to pay for a revenue stamp on all paper products. Following repeal of the act in March 1766, a celebration in Boston was planned. Its showpiece was a grand obelisk, painted with scenes, portraits, and text, lit at night by 280 lamps. Sadly, the obelisk was consumed in flames that night. Revere’s engraving of the design is the only remaining visual evidence of the obelisk.
Paul Revere Jr. (1735−1818), A View of Part of the Town of Boston in New-England and Brittish [sic] Ships of War Landing their Troops! 1768, 1770. Hand-colored engraving, first state. American Antiquarian Society, Worcester, Massachusetts
Protests broke out in Boston in 1767 after a series of taxes were levied on the colonies. In response the Massachusetts Royal Governor requested troops to maintain order. The deployment of British Regulars arrived in September 1768. In all 4,500 British troops
Chester Harding (1792−1866), after Gilbert Stuart (1755−1828), Paul Revere (1735−1818), ca. 1823. Oil on canvas. Massachusetts Historical Society, Gift of Paul Revere Jr., 1973.
These portraits of the elderly Reveres were based on likenesses made by Boston artist Gilbert Stuart in 1813. Both pairs of portraits descended through the large Revere family.
Chester Harding (1792−1866) after Gilbert Stuart (1755−1828), Rachel Walker Revere (1744−1813), ca. 1823. Oil on canvas. Massachusetts Historical Society, Gift of Paul Revere Jr., 1973.
Rachel Walker was Revere’s second wife. The couple married in 1773, and had eight children together, four of whom lived to adulthood. Many family members worked in the various businesses begun by Revere, learning trades, keeping books, managing staff, and building the family fortune. Generations of the Revere family, including the former owner of these paintings, preserved family papers, account and ledger books, and artifacts

When many of us think of Paul Revere, we instantly think of Longfellow’s lines ‘One if by land, and two if by sea’, but there is much more to Revere’s story,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “This exhibition looks beyond the myth of Paul Revere to better understand the man as a revolutionary, an artisan, and an entrepreneur, who would go on to become a legend. We are proud to partner with the American Antiquarian Society to debut this exhibition in New York.”

Teapot associated with Crispus Attucks (d. 1770), 1740−60. Pewter, wood. Historic New England, Boston, Massachusetts; Gift of Miss S.E. Kimball through the Bostonian Society, 1918.1655
Five men were killed in the Boston Massacre, including an American sailor Crispus Attucks, a mixed-race former slave. Attucks was the first to fall. All five men became martyrs for the patriotic cause.

On arrival, visitors are welcomed by a nine-foot-tall re-creation of the grand obelisk made for a 1766 Boston Common celebration of the repeal of the Stamp Act, the first tax levied on the American colonies by England. Originally made of wood and oiled paper, and decorated with painted scenes, portraits, and text praising King George while also mocking British legislators, the obelisk was illuminated from inside and eventually consumed by flames at the Boston event. The only remaining visual evidence is Revere’s 1766 engraving of the design, also on view.

Paul Revere Jr. (1735−1818), engraver; attributed to Christian Remick (1726−73). The Bloody Massacre Perpetrated on King-Street, Boston on March 5th 1770 by a Party of ye 29th Reg[imen]t, ca. 1770−74 Hand-colored engraving. Gilder-Lehrman Institute of American History, GLC01868
British soldiers fired upon a crowd of unruly colonists gathered in front of Boston’s Custom House on March 5, 1770. News of the Bloody Massacre traveled quickly through the colonies. Boston artist Henry Pelham made an engraving of the scene, which he apparently shared with Revere while it was in progress. Without permission, Revere copied (with modifications) Pelham’s design and had 200 copies of his version on sale by March 28. Pelham, whose 575 prints were not ready until early April, wrote an angry letter to Revere protesting being scooped.

A Revolutionary activist, Paul Revere was a member of the Sons of Liberty, a secret group opposed to British colonial policy including taxation that kept track of British troop movements and war ships in the harbor. The exhibition displays Revere’s 1770 engraving of the landing of British forces at Boston’s Long Wharf. Four versions of Revere’s provocative engraving of the 1770 Boston Massacre are also reunited in the exhibition. The engravings capture the moment when British soldiers fired upon a crowd of unruly colonists in front of the Custom House. The print inflamed anti-British sentiment, and different versions of it were widely disseminated as Patriot propaganda. Revere also helped plan and execute the Boston Tea Party in 1773, hurling tea into Boston Harbor. When war erupted in 1775, he delivered messages from the Continental Army to New York, Philadelphia, and Connecticut.

Paul Revere Jr. (1735−1818), Tankard, 1760−70. Silver. Worcester Art Museum, Worcester, Massachusetts; Gift of The Paul Revere Life Insurance Company, a subsidiary of UnumProvident Corporation, 1999.502
Revere was a versatile artisan, producing more than 90 different forms in silver over the course of his 40-year career. Silver objects, like this tankard, demonstrate the wide range of objects his shop produced from teaspoons to toy whistles.
Paul Revere Jr. (1735−1818), Coffeepot, tankard, teapot, butter boat, tea tongs, and spoons made for Lois Orne and William Paine, 1773. Silver, wood. Worcester Museum of Art, Worcester, Massachusetts; Gift of Frances Thomas and Eliza Sturgis Paine, in memory of Frederick William Paine; Gift of Dr. and Mrs. George C. Lincoln of Woodstock, CT in memory of Fanny Chandler Lincoln (1959); Gift of Paine Charitable Trust (1965), 1937.55-.59, 1965.336.337
Revere made an elegant 45-piece beverage service, the largest commission of his career, for Dr. William Paine of Worcester, Massachusetts, and his new wife Lois Orne in 1773. Never partisan when it came to profit, Revere completed the set for the Loyalist Paine just two months before the Boston Tea Party, the destructive protest that Revere, as one of the Sons of Liberty, helped plan and execute.
Paul Revere Jr. (1735-1818), Tea service for John and Mehitable Templeman, 1792−93. Silver, wood. Lent by the Minneapolis Institute of Art, Minneapolis, Minnesota; Gift of James F. and Louise H. Bell; Gift of Charlotte Y. Salisbury, wife of Harrison E. Salisbury and great niece of John Templeman Coolidge; and Gift of James Ford Bell and his family, by exchange, and Gift of Mr. and Mrs. Byron Wenger, 1960−2001, 60.22.1-9, 94.88.1-2, 2001.165.1-.7.
The Templeman tea service is one of Revere’s most impressive silver sets. Between 1792 and 1793, John Templeman and his wife Mehitable ordered numerous pieces to fill out their service, including several unusual forms such as a tea shell for scooping tea leaves and a locking caddy for safekeeping of the precious and expensive leaves. This set was purchased 20 years after the Templemans married. Originally from Salem, the couple moved to Maryland in 1794 where they owned 25 slaves. Undoubtedly, it was slave labor that kept this tea service polished to enhance the status of the Templeman name.

Paul Revere was a master craftsman specializing in metalwork, including copperplate engravings and fashionable and functional objects made from silver, gold, brass, bronze, and copper. An innovative businessman, Revere expanded his successful silver shop in the years after the war to produce goods that took advantage of new machinery. His fluted oval teapot, made from machine-rolled sheet silver, became an icon of American Federal silver design. Among the silver objects on view are two rare wine goblets possibly used as Kiddush cups made by Revere for Moses Michael Hays—his only known Jewish client—as well as grand tea services, teapots, tankards, teaspoons, and toy whistles created in Revere’s shop. Also featured is a 1796 cast-bronze courthouse bell made for the Norfolk County Courthouse in Dedham, Massachusetts. The exhibition also explores how Revere’s trade networks reached well beyond Boston. He frequently bought and sold raw and finished copper from New Yorker Harmon Hendricks and supplied copper for Robert Fulton’s famous steamship.

The son of a French Huguenot immigrant artisan, Revere belonged to an economic class called “mechanics,” ranked below merchants, lawyers, and clergymen. However, Revere was a savvy networker, and what he lacked in social status, he made up for by cultivating influential connections. Membership in the Sons of Liberty led to commissions from fellow Patriots, but he also welcomed Loyalist clients, setting aside politics for profit. On view are nine elements from a grand, 45-piece beverage service that Revere created in 1773 for prominent Loyalist Dr. William Paine—the largest commission of his career—just two months before the Boston Tea Party.

John Holt (1721−1784), printer, Broadside, To the Publick, October 5, 1774. Patricia D. Klingenstein Library, New-York Historical Society
Revere often acted as a trusted messenger. In October 1774, he traveled through New York City on his way to Philadelphia and brought news of workers in Boston refusing to build barracks for the occupying British troops. New York printer John Holt, who had ties to the Sons of Liberty (they helped him buy a printing press), likely distributed this broadside to encourage similar resistance among patriotic New Yorkers.
Grant Wood (1892−1942), Midnight Ride of Paul Revere, 1931. Metropolitan Museum of Art, New York. © 2019 Figge Art Museum, successors to the Estate of Nan Wood Graham/ VAGA at ARS, NY
American artist Grant Wood recalled reading Henry Wadsworth Longfellow’s poem about Paul Revere when he was a child. He stated that the poem “made quite an impression.” He had that text in mind when he painted Midnight Ride of Paul Revere in the midst of the Great Depression. Grant strayed from Longfellow’s already romanticized narrative, having Revere ride past a stylized version of Boston’s Old North Church (Revere was on foot until he crossed the Charles River to Cambridge and rode a borrowed a horse from there to Lexington).

Paul Revere died in 1818, but his fame endured, initially for his metalwork and then for his patriotism. In the 1830s, Revere’s engravings were rediscovered as Americans explored their Revolutionary past, and his view of the Boston Massacre appeared in children’s history books. In 1860, poet Henry Wadsworth Longfellow was inspired to write “Paul Revere’s Ride,” romanticizing (and somewhat embellishing) the story of Revere’s journey to Lexington. The poem first appeared in the Atlantic Monthly in January 1861—an original copy of the magazine is on view in the exhibition. Artist Grant Wood’s painting Midnight Ride of Paul Revere (1931), also on display, depicts a dramatic scene of Revere riding past Boston’s Old North Church. This is also an embellishment: In reality, Revere was on foot until he crossed the Charles River to Cambridge and then rode a borrowed horse to Lexington. He was also one of three riders and was stopped briefly by British officers and then released. A map of the actual ride is on display. These works and others enshrined Paul Revere at the heart of the nation’s founding story. By the turn of the 20th century, the tale of Paul Revere and his midnight ride was firmly established in the nation’s psyche as truth, not fiction, and Revere’s contributions as a metalsmith and artisan were overshadowed.

Paul Revere Jr. (1735−1818), Bookplate for Paul Revere, undated, removed from Hugh Latimer’s Sermons, London, 1758. American Antiquarian Society, Worcester, Massachusetts
Revere’s lifelong ambition to better himself is clear from his own bookplate with an adopted coat-of arms.

Publication and Programming

Drawing on the American Antiquarian Society’s unparalleled collection of prints and books, a catalogue accompanies the exhibition, Beyond Midnight: Paul Revere, transforming readers’ understanding of the iconic colonial patriot. Essays examine Revere as a patriot, a manufacturer, a precious metalsmith, a printer, and an engraver. His legacy as a polymath is documented in the book’s complete illustrated checklist of the exhibition’s artifacts. The book is available exclusively from the NYHistory Store.

A robust line-up of engaging programs and family activities take place throughout the exhibition’s run that delve into Revere and his contemporaries. On October 17, historians Annette Gordon-Reed and Philip Bobbitt discuss Thomas Jefferson. On November 13, Nina Zannieri, Robert Shimp, and Carol Berkin explore the truth behind Revere’s famous ride. On December 12, George Washington is the topic of conversation between scholars Denver Brunsman and Carol Berkin. Also in the fall, architectural historian Barry Lewis traces the history of the colonial and federal style on a date to be announced.

On weekends during Beyond Midnight: Paul Revere, Living Historians are stationed at the Museum, bringing Paul Revere’s world to life for young visitors. Kids can interact with skilled tradespeople, like a milliner, apothecary, and bookbinder (October 5-6). Spies from the Continental Army’s intelligence system are on hand to teach their secretive methods (November 2-3) while hands-on explorations into historical tooth extraction, filings, and tooth replacement may give visitors a new appreciation for their dentists (November 23-24). On select Saturdays (October 19, November 16, and December 7), families can discover the history of colonial drinks, the global chocolate trade, and colonial silver-smithing in a multi-sensory program supported by American Heritage Chocolate. On October 20, aspiring young writers ages 12 and up can take part in a narrative poetry workshop with Writopia Lab and develop original narrative poems that reveal inspiring stories of key figures from the recent and distant past.

Major support for Beyond Midnight: Paul Revere was provided by the Richard C. von Hess Foundation and the Henry Luce Foundation. The exhibition at New-York Historical is made possible by the May and Samuel Rudin Family Foundation, Inc. Additional support provided by Richard Brown and Mary Jo Otsea. Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Seymour Neuman Endowed Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. WNET is the media sponsor.

Founded in 1812 by Revolutionary War patriot and printer Isaiah Thomas, the American Antiquarian Society (AAS) is both a national learned society and a major independent research library located in Worcester, Massachusetts. The AAS library today houses the largest and most accessible collection of books, pamphlets, broadsides, newspapers, periodicals, music, and graphic arts material printed through 1876 in what is now the United States, as well as manuscripts and a substantial collection of secondary texts, bibliographies, and digital resources and reference works related to all aspects of American history and culture before the 20th century. The Society sponsors a broad range of programs—visiting research fellowships, workshops, seminars, conferences, publications, lectures and performances—for constituencies ranging from school children and their teachers, through undergraduate and graduate students, postdoctoral scholars, creative and performing artists and writers and the general public. AAS was presented with the 2013 National Humanities Medal by President Obama in a ceremony at the White House.

The New-York Historical Society, one of America’s preeminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history. New-York Historical is also home to the Patricia D. Klingenstein Library, one of the oldest, most distinguished libraries in the nation—and one of only 20 in the United States qualified to be a member of the Independent Research Libraries Association—which contains more than three million books, pamphlets, maps, newspapers, manuscripts, prints, photographs, and architectural drawings.

Hello, Jerry! Viacom Acquires Exclusive Cable Rights to Seinfeld From Sony Pictures Television

Viacom’s Entertainment Brands to Begin Airing Seinfeld in 2021. Select Episodes Will Also be Available to Stream on Authenticated Viacom Websites and Apps

Viacom has announced the acquisition of Seinfeld from Sony Pictures Television, in a deal that features the exclusive cable rights for all 180 episodes of the iconic series. Beginning in October 2021, the full library of Seinfeld episodes will air amongst Viacom’s entertainment brands, including Comedy Central, Paramount Network and TV Land. Additionally, catch-up episodes will be available through Viacom brands via authenticated video on demand, websites and apps. The deal was closed by Barbara Zaneri, EVP, Viacom Global Program Acquisitions, and Flory Bramnick, EVP, US Distribution, for an undisclosed sum and a loaf of marble rye after a spirited Festivus feats of strength competition.

We’re extremely proud to bring this little-known series to our viewers. With the right programming and promotion, we believe we’ll finally get Seinfeld the recognition it truly deserves, as merely the greatest sitcom of all-time,” said Kent Alterman, President of Comedy Central, Paramount Network, TV Land and Vandelay Industries.

John Weiser, President, First Run Television for Sony Pictures Television said, “Seinfeld airing on Comedy Central and the Viacom networks brings together the greatest comedy of all time, with the best brands in cable. This was a tremendous team effort and we are delighted to be working with the first class executives at Viacom who are experts in programming and promotion. For a show about Nothing, this is really Something!”

An Emmy and Golden Globe-winner for Best Comedy Series, Seinfeld is one of the most popular, most award-winning and longest-running comedy series of all time. Jerry Seinfeld stars as a stand-up comedian whose life in New York City is made even more chaotic by his quirky group of friends who join him in wrestling with life’s most perplexing, yet often trivial questions. Often described as “a show about nothing,” Seinfeld mines the humor in life’s mundane situations like waiting in line, searching for a lost item, or the trials and tribulations of dating. Co-starring are Julia Louis-Dreyfus as Jerry’s ex-girlfriend and current platonic pal, Elaine Benes; Jason Alexander as George Costanza, Jerry’s neurotic hard-luck best friend; and Michael Richards as Jerry’s eccentric neighbor, Kramer.

Seinfeld is a West/Shapiro Production in association with Castle Rock Entertainment. Seinfeld was created by Larry David and Jerry Seinfeld and executive produced by Larry David, Howard West, and George Shapiro.