April 1932 NY Historical Society Quarterly Bulletin US Army Buttons War 1812

Description: Quarterly Bulletin of The New York Historical Society and Annual Report for 1932Includes "United States Army Buttons of the War of 1812 Period" between pages 12-24Includes PhotosTHENEW-YORK HISTORICAL SOCIETYQUARTERLY BULLETINVoL. XVIAPRIL, 1932No. 1Courtesy of Williamsburg Holding CorporationTHE SIR CHRISTOPHER WREN BUILDING OF THE COLLEGE OF WILLIAM AND MARY, AFTER RESTORATION, WILLIAMSBURG, VIRGINIA.NEW YORK: 170 CENTRAL PARK WESTPUBLISHED BY THE SOCIETY AND ISSUED TO MEMBERSQUARTERLY BULLETIN13UNITED STATES ARMY BUTTONS OF THE WAR OF 1812 PERIODWORN BY GOVERNOR DeWITT CLINTON.By WILLIAM L. CALVER, Chairman, Field Exploration Committee The interest displayed in our story of the American Army button in the Revolutionary War has induced us to continue our study of the military buttons of later wars.We are safe in our attribution of the "FEDERAL" eagle-buttons * found on the site of the Revolutionary barracks at West Point, for their provenance and the inscriptions they bear attest the period to which we have assigned them. They belong to the"Federal Union" era, that period preceding the establishment of the National Government, and were contemporary with the issue of the Massachusetts coins of 1787, whose dies and those of the buttons were made by the same die-sinkers, as we have shown. Fur-thermore, they are related to the "Confederatio'' cents of 1785, as having a numismatic value in recording the political aspect ofEPAULETSmemory of the late DeWitt Clinton Jones by his family in 1932.)the country's affairs of their day.In the study of the Revolutionary buttons much labor was expended in procuring specimens while there was little difficulty in assigning them to the corps to which they pertained. This was due to there being but one type of Continental button, and to the practice of such states as had inscribed buttons placing the name of the state and the numerical designation of each corps upon thein(Presentedbuttons thereof.Our buttons of the American army of the Revolution were obtained, mostly, from camps in the Hudson Highlands and their dates are, therefore, precise. In the post-Revolutionary days military camps did not exist, and it is, then, to the established continuous stations one must go to recover from the dust heaps there the uniform buttons of the small standing army of the period.West Point has yielded a few specimens, not positively of the post-Revolutionary era, yet in all probability belonging to the period in question. Those buttons show an eagle and are attributable to a very late 18th century date.*N.Y.H.S. Bulletin, October, 1926, Vol. X, No. 3.THE DE WITT M. LOCKMAN GALLERY OF CONTEMPORARY PORTRAITSBy ALEXANDER J. WALLIt is a pleasure to feature in this number of our Quarterly Bulletin the first article illustrating the gallery of distinguished contemporary people whom Mr. DeWitt M. Lockman, N. A., is painting for the Society, by special arrangement, and about which announcements have been made in our annual reports for the past two years.In addition to its gallery of portraits from the earliest period of portrait painting in New York to modern times, the Society wishes to secure a pictorial record of men and women who have done things worth while in this day and generation.Mr. Lockman, like all good artists, is something of an idealist, easter to produce a piratical that he sees at a glance that it is rely on memory to supply the likeness. Acting on the idea, this energetic chairman of our Art Committee, in co-operation with the Executive Committee, started his great work more than a year ago, and proceeded with such diligence and speed that to date our collection has been enriched by the eight notable portraits illustrated in this issue. Nor is this the end! We have in hand certain important additions to this Lockman gallery of contemporary portraiture destined to occupy a major place among our valued collections.It is most fortunate that this portrayal of men of to-day should come from the brush of an artist who is himself so distinctly up to date. Mr. Lockman has developed a technique combining an almost classical fidelity to life with a certain modernistic vibrancy of color, establishing a harmonious medium between the old and new standards of portraiture, ever presenting his subjects broadly and in pleasing tonalities.As other groups of these paintings are completed, we shall illustrate them in the Bulletin.K WESTSECRETARYTINGTONSECRETARYTTRYNKIEILLROGERS GROUPS IN THE MUSEUM OF THE NEW YORK HISTORICAL SOCIETYFor several years, The New York Historical Society has been adding to its collection of plaster groups by the New York sculp-tor, John Rogers, N. A. It now has sixty-one, representing various types of the sculptor's work, and about three-fourths of all that heing to the Parson"proto the Parson in dChecktion are those which, like " aim-are fairlycommon today, in spite of the breakable plaster of which they are made, because they were popular and sold in large numbers orig-inally.There are also several, "The Watch on the Santa Maria, and "Fighting Bob," for example, which are now harder to find, and are consequently sought by collectors. But it is not as collectors' items that the Society is preserving them, but as exact, detailed, story-telling pictures of the costumes and background of social activities in New York a half century ago, and as evidences of American ideas and artistic ideals of a past generation. Besides their historical interest, Rogers groups are worthy of exhibition for their expressive portraiture, clever modeling, and skillful posing and grouping of figures.John Rogers (1829-1904) passed his youth in New England, and his final years, afflicted with palsy, at his summer home in New Canaan, Connecticut, but the three decades of his professional activity, from 1860 to about 1893, centred in New York City.* During the first two years, he had an attic studio at 599 Broad-way, whence he removed for a short time to Dodsworth's studio building, at 204 Fifth Avenue. During the next decade, his studio was at 212 Fifth Avenue, and the workshop where his molds were made was, for many years, on Centre Street. His subsequent addresses were 1155 Broadway, 23 Union Square, and 860 Broad-way. From 1889 until he retired permanently to New Canaan, he* For biographical sketches of John Rogers, see "John Rogers, Sculptor of American Subjects," in Historical Collections of the Essex Institute, October, 1917, vol. LIII,289-296; Walter A. Dyer, "The Sculptures of John Rogers," in Antiques, January, 1926, vol. IX, 23-27. OFFICERS OF THE SOCIETYFor Three Years ending 1935PRESIDENTJOHN ABEEL WEEKESFIRST VICE-PRESIDENTROBERT E. DOWLINGSECOND VICE-PRESIDENTARTHUR H. MASTENTHIRD VICE-PRESIDENTR. HORACE GALLATINFOURTH VICE-PRESIDENTWILLIAM D. MURPHYFOREIGN CORRESPONDING SECRETARYARCHER MILTON HUNTINGTONDOMESTIC CORRESPONDING SECRETARYERSKINE HEWITTRECORDING SECRETARYB. W. B. BROWNTREASURERGEORGE ALBERT ZABRISKIELIBRARIANALEXANDER J. WALLMeasures approx. 9 1/2 X 6 1/4"Hard CoveredCarefully Packaged & Promptly Shipped

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