Day Tripping - DC Metro
U.S. Civil War Destinations

Art from Gallery 30 - Gettysburg, Pennsylvania
From the Collection of Tom Corbin and Ron Patterson






ARTIST: Rich Thompson

"GETTYSBURG"
ARTIST: Rich Thompson

WEBSITE
Rich Thompson is a self taught artist, who’s always been drawn to American history and specifically Abraham Lincoln. Rich’s work was on display and won visitors choice at the Rosenbach Museum in Philadelphia during Lincoln’s 200th birthday celebration. Currently, Rich has pieces in the Lincoln Collection at the Abraham Lincoln Library and Museum in Springfield, IL, the Lincoln Museum in Hodgenville, Kentucky, The Lincoln Library and Museum in Harrogate, Tennessee, as well as two pieces hanging at Ford’s Theatre in Washington DC. He’s been published in the Civil War Preservation Trust magazine, Hallowed Ground, as well as had a painting used in the playbill at Ford’s Theatre’s production of “The Rivalry”.




ARTIST: Harold Kenneth Miller, Jr.

"FIX BAYONETS AND TAKE THOSE HEIGHTS"
(The John Slyder Farm)

With these words, Confederate Manor General John B. Hood urged his division forward through Devil's Den and on to Little Round Top. The soldiers skirted John Slyder's farmyard and drew fire from Yankee sharpshooters sheltered by Slyder's picket fence. Moments later, Hood was wounded, and his Texans and Alabamians would end the day face to face with Joshua Lawrence Chamberlain and the Twentieth Maine.
The John Slyder Farm (Granite Farm)--Field Hospital
Gettysburg, Pa. Located just to the east-northeast of Big Round Top and about 600 feet from its base.
Photo Courtesy becky04181949 on Flickr
John Slyder owned this 75-acre farm with a stone house at its center, although a tenant occupied it at the time of the battle.

Confederate troops swept across the farm in several engagements the afternoon of July 2nd, and the farm was witness to one of the battle's most famous cavalry engagements on July 3rd: the charge of the 1st Vermont Cavalry and Union Gen. Elon Farnsworth.
Supposedly five Vermont soldiers were buried following the battle near the Slyder house. For some reason, their bodies were not recovered for reinterment in the Soldiers National Cemetery. In 1900, fence builders discovered an entire human skeleton while digging a hole near the Slyder stone house. After it was determined that the remains were those of a civil war soldier, they were taken to their final resting place in the Soldiers National Cemetery.
(Above Text and Photo Courtesy becky04181949 on Flickr)

ARTIST: Harold Kenneth Miller, Jr.
WEBSITE
Harold K. Miller was born in 1950 and grew up in southern New Jersey. He attended Indiana University of Pennsylvania, earning a B.A. in Art in 1972 and a Masters in Printmaking and Education in 1975.

After surviving 32 years as a teacher in the Pennsylvania public school system, Harold retired in 2006 and began painting full time. Beginning with small plein-air studies, he gradually moved on to larger studio paintings. Of particular interest is a current series depicting the farm structures on the Gettysburg battlefield.

Harold resides in Indiana, Pennsylvania with his wife Susan and is represented by Gallery 30 in Gettysburg, PA.

Harold Kenneth Miller, Jr.




ARTIST: Charles Thomas Joyce


VIRGINIA CAVALIER
(Unidentified Confederate Infantry Lieutenant)

Nothing is known about this dashing Confederate Lieutenant, other than the tintype this painting is based upon was discovered in a little village on the outskirts of Richmond, Virginia, and the sword he brandishes appears to be of Virginia manufacture.





THE TRUMPETER
(Unidentified Buglar, 1st New York (Veteran) Calvary)

Judging by the unique painted photographer's backdrop before which this young trooper sits, he is believed to be a buglar of the 1st New York (Veteran) Cavalry. Organized in the summer of 1863, and composed of "excellent material, chiefly veterans of the 27th and 33rd [New York] Infantry," the First Veteran Cavalry fought in the 1864 Shendandoah Valley Campaign, suffering heavy casualties at New Market, where it lost 65 horsemen in an illpfated charge.

This cavalryman holds a heavy Model 1840 Saber, and a Mounted Troopers trumpet in the crook of his arm. This artist modeled his painting based on the 19th Century photo (tintype (or 6th Plate ferrotype)1 shown to the left.





TARHEEL
(Unidentified North Carolina Confederate Infantryman)

A young Southern soldier, early in the War, resplendent in his new uniform, bayonet and small caliber revolver tucked in his belt, his antiquated Model 1816 musket at his shoulder.

This artist modeled his painting based on the 19th Century photo ambrotype2 shown to the left. The image, cracked across the middle and scratched, was found in a home in North Carolina. His name and his fate are lost to History.





ARTIST: Charles Thomas Joyce
WEBSITE

Charles Thomas Joyce lives and works in the Philadelphia, Pennsylvania area, where he concentrates on oil paintings of urban landscapes and suburban and rural Pennsylvania scenes. An avid collector of Civil War era photography, Charles also uses vintage photographs to create original oil portraits of the common soldier in the War Between the States.

Artist Charles Thomas Joyce - Photo Courtesy the Artist
Charles Thomas Joyce
Charles first exhibited his work at the Wayne, Pennsylvania Art Center Fall 2000 Members’ Juried Exhibition, where his painting, Sale at 60th and Market, was awarded Best of Show.

He has displayed and sold his paintings at group and individual Gallery shows in Philadelphia, Havertown, and Gettysburg, Pennsylvania; at the Yellow Springs, Pennsylvania Art Festival, and the Rittenhouse Square Fine Arts Annual.

Numerous private individuals and corporations have purchased his work.

Charles works out of his studio in Drexel Hill, Pennsylvania. His urban and rural landscape paintings may be viewed there, and his Civil War portraits at the American Historical Art Gallery in Gettysburg, Pennsylvania.
[EXHIBITIONS]
Photographic Reproductions of Paintings by Ron Patterson





NOTE 1: The tintype, also known as a ferrotype, is produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use, as in the wet plate process. It was introduced by Adolphe Alexandre Martin in 1853, and became instantly popular, particularly in the United States, though it was also widely used by street photographers in Great Britain.
NOTE 2: The ambrotype or amphitype is a photograph that creates a positive image on a sheet of glass using the wet plate collodion process. In the United States, ambrotypes first came into use in the early 1850s. The wet plate collodion process was invented just a few years before that by Frederick Scott Archer, but ambrotypes used the plate image as a positive, instead of a negative. In 1854, James Ambrose Cutting of Boston took out several patents relating to the process and may be responsible for coining the term "ambrotype".