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Featured Artifact: Yes

Wax Portrait of George Washington

Title: Wax Portrait of George Washington

Maker: Patience Wright [1725-1786]

Date: 1785-1786

Medium: Wax

Measurements: 20 ½” [H], 15 ½” [W], in oval frame

Provenance: Bequest of Albert H. Atterbury 

Object ID: 1956.002.001

Credit Line: The Old Barracks Museum

This white wax portrait of General George Washington [1732-1799] shows him in his uniform in profile. The portrait is attributed to Patience Wright and is one of her last known completed works.  Wright, a Quaker from Bordentown, NJ, was widowed in 1769. Having taught herself to sculpt using bread dough and wax, she supported her family by selling her wax artworks. Using her social connections, Patience moved to London in 1772 and continued sculpting wax portraits of political and military figures. She passionately believed in the ideals of liberty and wanted to create sculptures of those who fought for it, including George Washington. While Wright never met Washington in person, her son, Joseph Wright [1756-1793] sketched the general from life, and Patience based her sculpture on his work.

The first known owner of this Washington portrait was Elias Boudinot [1740-1821]. Trained as a lawyer, Boudinot was active in revolutionary politics. He served in New Jersey’s Provincial Assembly in 1775, in 1777 he was appointed the first commissary general for prisoners, and he was twice elected to represent New Jersey in the Continental Congress. His will describes a “bust of General Washington in white wax” being bequeathed to his relative Lewis Atterbury, who in turn gave it to his son Edward J.C. Atterbury, who then gave it to his son, Albert H. Atterbury. In 1956, Albert H. Atterbury donated the portrait to the Old Barracks Museum.



Additional Resources

This is one of five known wax portraits of George Washington attributed to Patience Wright. The others include:
The Pennsylvania Academy of Fine Arts
National Park Service, Morristown National Historical Park
The John Jay Homestead
Mount Vernon: [attributes it to Joseph Wright]

W. and T. Bradford Handbill or Broadside

On December 16, 1773, the event now referred to as the Boston Tea Party took place when men dressed as Mohawk Indians destroyed several hundred cartons of tea belonging to the East India Company. In response to this, the British Parliament passed a series of laws called the Coercive Acts (dubbed the Intolerable Acts by the colonists) in order to punish the colony of Massachusetts. When news of the retaliation by Great Britain made its way through the colonies, sympathy and support for the cause of colonial representation in Parliament steadily grew and gained momentum, and in Philadelphia at Carpenters’ Hall on September 5th, 1774, the Continental Congress met for the first time. 

One of their resolutions was in the form of this handbill, or broadside, which was printed during the First Continental Congress and intended for mass circulation to communicate a request to all local merchants, urging them not to place further orders with England or to take delivery of goods already on order. It is signed by Charles Thomson, Secretary of the Continental Congress, 1774 to 1788. The broadside was printed by W. and T. Bradford of Philadelphia who also printed Thomas Paine’s Common Sense.

To date this is one of only two known copies to have survived this historic event in American history; the other is located at the Library of Congress.

James Garthwait, Powder Horn

The carvings on this powder horn read:

Steel Not This Horn for Fear of Shame for on it is the Onours name
James Garthwait His Horn made at Fort Edward September the 15 1759

Other carvings include geometric and floral designs, a line of fish, and a solider smoking a pipe.

Born in 1737, James Garthwait was from Elizabethtown (Elizabeth), New Jersey. He served as a private in the Jersey Blues, the only regiment of troops raised by New Jersey during the French and Indian War. When Garthwait was carving this horn, the fighting had moved north into Canada, meaning James was one of the troops left to hold Fort Edward.

After his service in the Jersey Blues, Garthwait returned home and married Ann Crane in 1761. They had one son, Jeremiah C. Garthwaite, who enlisted into the Continental Army when he was only 13.

Wilkes & Liberty No. 45 Cufflink

​This just may be the smallest artifact in the Old Barracks’ collection!
 
Thought to be an insert for a cufflink, this artifact is evidence of someone at the Trenton Barracks expressing their personal political views in a subtle but recognizable way to the people around them.
 
Archeologists from Hunter Research, while searching for physical evidence of the 18th century wooden fence surrounding the Old Barracks, discovered the tiny artifact in 1995. The “Wilkes & Liberty” refers to John Wilkes, a British politician who actively spoke out in support of free speech and independence for the American colonies. The “No. 45” is in reference to issue 45 of the periodical The North Briton, published on April 23, 1763, where Wilkes criticized the policies of King George III and was subsequently jailed because of it.  Uproar resulted, with crowds taking up the chant “Wilkes & Liberty No. 45!”. Ben Franklin, then in London, wrote that he saw the number “45” painted on house doors not only in London but also continuing for miles outside the city.