Another item of interest about SARAH MOORHEAD (see previous posts) is her connection to a slave of the family called Scipio who is thought to have been a talented working artist around 1773. Sarah was a teacher of drawing and painting so it is possible, even likely, that she recognized his talent and was his teacher. But the only piece of art ascribed to Scipio Moorhead that has survived is the portrait of Phillis Wheatley, on the frontispiece of her published book of poetry: Poems on Various Subjects, Religious and Moral (1773). (See posts on Wheatley here, here, here, here. here, and here.) A poem, “To S.M., A Young African Painter, on Seeing His Works,” written by this enslaved African-American poet has been cited as evidence that the engraving was made from a painting by Moorhead. (A note by a white reader in an early copy of the book mentions Scipio by name.)

When first thy pencil did those beauties give,
And breathing figures learnt from thee to live,
How did those prospects give my soul delight,
A new creation rushing on my sight!

It is true that the Moorheads and the Wheatleys were neighbors and that the two slaves knew each other. However, the assumption that Scipio is the artist of the frontispiece has been challenged by Eric Slauter, author of the article “Looking for Scipio Moorhead” in Slave Portraiture in the Atlantic World. He presents evidence based on the Scipio’s age, his contact with other painters, the current styles in portraiture, and his appearance in ads for the auctioning of the estate of John Moorhead and that of his daughter Mary. The historian J.L. Bell, in his blog Boston 1775, is quite persuaded that Slauter is right. He suggests that an another black artist working at the time with several works attributed to him, Prince Demah, may have been the actual artist of the Wheatley portrait. See two posts by my colleague Louise North on Prince Demah here and here.

Eric Slauter’s article appears in Slave Portraiture in the Atlantic World, edited by Agnes Lugo-Ortiz, Angela Rosenthal (Cambridge: Cambridge University Press, 2013), 89. Read the complete poem HERE.

In a search for possible pastels by Prince (see previous post), we corresponded in 2008 with the Prints and Drawings Department of the Museum of Fine Arts, Boston but came up empty-handed.

Author J.L. Bell, in a recent blog noted that two unsigned portraits by the enslaved artist had been discovered by Paula M. Bagger at the Hingham (Massachusetts) Historical Society and a signed portrait at an antiques show by Amelia Peck, curator of Decorative Arts at the Metropolitan Museum of Art.* Moreover, they were able to fill in some of Prince’s biography. His full name was Prince Demah Barnes, and was in his twenties when he lived with Christian Barnes. From October 1770 to July 1771, Prince went to England with Henry Barnes, and received some instruction from a “Mr. Pine” (possibly Robert Edge Pine). When he returned, Prince apparently made “five pictures from life . . . three of them as good likenesses as ever Mr. Copling took”. [9 March 1772]. Is it possible that two of the five pictures were those of Christian and Henry Barnes? Was one of Elizabeth Smith, who had returned to Boston mid-1771 and had married Ralph Inman on 26 September 1771? Perhaps Mrs. Barnes’s letter of 22 July 1773 to her friend gives a clue:

if you have an hour to spare at any time when you are in Boston you will allow Prince to make some alterations in the Coppy he has taken from your Picture [by Copley] which he says he cannot do but from the life and Please to give him any direction you think proper as to the Dress of the Head. . . .

Did Prince also make a copy of the Copley portrait of Ralph Inman, a pastel now at the Boston Athenaeum? Might he have done portraits of Henry Barnes’s brothers-in-law, Nathaniel Coffin and Thomas Goldthwaite?

What is certain is, that, in February 1773, Prince signed and dated the portrait of William Duguid a Boston merchant (shown).

Soon after, politics and escalating tensions terminated Christian Barnes’s enthusiastic support of her talented slave. In March 1776, Christian and Henry Barnes and their daughter Chrisy sailed for Bristol, England, never to return. Chrisy died of consumption in 1782.

The Barnes house in Marlborough was at first occupied by General Henry Knox. Barnes’s niece, Catharine Goldthwait, who had tried to salvage the estate by petitioning the Court in December 1775, wrote Mrs. Barnes:

All your furniture removed over to the shop chamber, except the family pictures, which still hang in the Blue Room, & the Harpsichord that stands in the passage way, to be abused by the children and servants in passing through. Mr. Knox found it inconvenient to be moving furniture, so has taken nothing but the Linnen, which at this juncture is by far the most valuable part. **

How ironic that Knox, whose own in-laws were loyalists, should be occupying a loyalist house!

It is likely that Daphney remained in the area; she and Mrs. Barnes did communicate from time to time. In April, 1777, Prince, now free, enlisted in the Massachusetts militia. Taken ill, he made his will, which he signed “Prince Demah, limner,” and died in March 1778. ***

On 28 February 1784, Mrs. Barnes wrote Elizabeth “Betsy” Murray, a niece of her friend Elizabeth Smith Inman:

I shall inclose a line to Daphney to desire she would send my Chrisys Picture drawn by her Son, and must beg the favor of you to take charge of it, if Mrs. Forbes [Dorothy Murray Forbes] has parted with her Portrate, she will find upon her arrival the exact resemblance of it, hanging in my Parler dress’d in her white Satten Coat.

Spurred on by Peck’s and Bagger’s discoveries, let’s hope that some of the works by Prince Demah (Barnes) described in the letters cited here will be found.

* “Portraitist and slave in colonial Boston,” in The Magazine Antiques, Jan/Feb. 2015, pp 154-59.
** Nina Moore Tiffany, ed. Letters of James Murray, Loyalist (Boston: Gregg Press, 1972), p. 251.
*** The Magazine Antiques, p. 158.
The quotations from Mrs Barnes are from the Papers of Mrs. Christian Barnes, Library of Congress, DM16.157. The portrait of William Duguid by Prince Demah can be found on the Hingham Heritage Museum website HERE. It is at the Metropolitan Museum of Art.

Guest blogger, art historian, and an editor of In the Words of Women, Louise North writes about the black artist named Prince in this post and the one following.

It is always a delight when new details or insights are discovered about the women we cared about deeply and presented in our book In the Words of Women, but especially if our past researches had come to a dead end.

We wrote of loyalist Christian Arbuthnot Barnes and her outrage and fear as dissensions increased between her family and her neighbors in the late 1760s. Thanks to letters she wrote to her best friend Elizabeth Murray Campbell Smith, a successful Boston business woman (who was visiting England at the time), we learn how her husband Henry had been labeled an enemy to his country [Dec. 1769] and, six months later, how his effigy had been placed on a horse, which was let “loose about the Town, with an infamous Paper Pin’d to the Breast, which was sum’d up with wishing of us all in Hell.” Henry had been a merchant and dry goods importer in Marlborough, Massachusetts since 1753, had served as a magistrate, and was one of the largest taxpayers in the town. He also owned several slaves, among them Juliet and Daphney.

Amidst all the turmoil, there was a welcome distraction: Mrs. Barnes discovered that Daphney’s son Prince showed great artistic talent and, as she wrote Mrs. Smith, he was painting her picture. He also “has taken a Coppy of my Brothers extremely well” [20 Nov. 1769]—this probably refers to a brother in law. By 13 March 1770, Prince was

fix’d in one corner of the room improving himself in the Art of Painting . . . . were I only to descant on the Qualifications of my Limner it would be a Subject for several Sheets. He is a most surprising instance of the force of natural Genius for without the least instruction or improvment he has taken several Faces which are thought to be very well done, he has taken a Coppy of my Picture which I think has more of my resemblance than Coplings [John S. Copley]. He is now taking his own face which I will certainly send you as it must be valued as a curiosity by any Friend you shall please to bestow it upon. We are at great loss for proper materials, at Present he has workd only with Crayons [pastels] and them very bad ones and we are so ignorant as not to know what they are to be laid on. He has hetherto used Blue Paper but I think something better may be found out. If you should meet in your Travils with any one who is a Proficient in the art I wish you would make some inquerys into these perticulas for people in general think Mr. Copling will not be willing to give him any instruction and you know there is nobody else in Boston that does any thing at the Business . . . intend to Exhibit him to the Publick and don’t doubt he will do Honour to the profession.

You Laugh now and think this is one of Mr. Barnes Scheems, but you are quite mistaken it is intirely my own, and as it is the only one I ever ingag’d in I shall be greatly disapointed if it does not succeed. . . . as he was Born in our family he is of Tory Principles, but of that I am not quite so certain as he had not yet declar’d himself.

Mrs. Barnes sent the pastel copy of herself to Mrs. Smith. More about Prince in the next post.

The quoted passage can be found on page 215 of In the Words of Women. All other quotations from Mrs Barnes are from the Papers of Mrs. Christian Barnes, Library of Congress, DM16.157. The portrait of Christian Barnes is by Prince and can be found on the Hingham Heritage Museum website HERE.