Art from Gallery 30 - Gettysburg, Pennsylvania
From the Collection of Tom Corbin and Ron Patterson
ARTIST: Rich Thompson
ARTIST: Rich Thompson
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.
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.
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
(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.
(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.
(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.
AN HONORABLE DISCHARGE
Private William H. Dunn, Company F, 62nd Pennsylvania Infantry
In the Spring of 1861, a poor vegetable and fruit grocer from Pittsburgh, Pennsylvania, named Arthur Dunn watched his eldest boy, William, enlist in Company F, 62nd Pennsylvania Volunteer Infantry. Standing just 5 feet 4 inches, with blue eyes, William saw heavy combat with the 62nd, so that by the end of January, 1863, he could write his dad that he was "as tired of soldering as any person." Yet, in referring to one of his comrades who was seeking a medical leave to avoid further military service, he wrote, "before I play off sick to get my discharge, I will serve five years, for I think an honorable discharge is better to me than a fortune."
These words appear to be among the last Arthur ever heard from his son. On July 2, 1863, the 62nd Pennsylvania entered the bloody maelstrom of the Wheatfield, and William advanced with the regiment's skirmishers. Sergeant James J. Ricketts wrote Arthur what happened mext:
"Your son was instantly killed while on the skirmish line. John Stewart was on the line at the time and seen him fall. This was on the evening of the second of July."
If affords me great pleasure," Sergeant Ricketts continued, "to know that the grave of your brave son...is marked so that you will have no trouble in finding his last resting place. He is buried on the Battle Field onthe Farm of a Wm. Ros[e] near John J. Weikert's house. Thair[sic] is three other members of Company F buried with him."
For some reason--perhaps simple economic inability, as Arthur had 10 other children to care for-he apparently never ventured to Gettysburg to find his son's grave and claim his body. Today, William H. Dunn's remains rest in the Pennsylvania Sector of the Soldier's National Cemetery, Section D, Grave No. 76.
Private John W. Pirtle, Company E, 23rd tennessee Infantry
A 28-year old farmer from Warren County, Tennessee, John Pirtle joined Company E, 23rd Tennessee Infantry, in August 1861. Dressed here in a civilian frock coat and carrying an ancient flintlock musket, Pirtle was wounded severely in the thigh at the battle of Stones River in early January 1863, but recovered and returned to his outfit, rising to the rank of Corporal.
Transferred east with his regiment, Pirtle was again wounded, this time in the right hand, at Dewey's Bluff, Virginia in May 1864, He remained on the line, only to be captured at Hatcher's Run, five days before Lee's surrender at Appomattox.
He returned home, fathered six children, and died in peace on June 25, 1899.
ARTIST: Charles Thomas Joyce
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.
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.
Photographic Reproductions 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".