Hubard Gallery (SCC Newsletter January 2006)

The Hubard Gallery 1822-1845

This article is an attempt to describe the history and work of the Hubard Gallery, which was in existence for 23 years from 1821. As we know it's early years were inextricably linked with the boy prodigy Master Hubard. Although he parted company with the Gallery in 1826 it still continued for some years after this to advertise his talents! It seems clear that there were quite a number of other artists working for the Gallery at different times in it's history, evidenced by the variety of the output. Yet we know very little about most of these artists with the exception of Master Hankes, who was something of a rival to the "boy" during the Gallery's time in America. In some cases we just have the names or part names, whilst others have apparently sunk without trace! Inevitably this means the work of the Gallery is dificult to attribute to any particular artist. Also without a label or signature on a work it is impossible to be certain that it is a work of this Gallery.

However, in spite of these problems there are certain characteristics that can help to make an attribution, in my view.

Firstly, I will outline the history of the Gallery to 1826 when Master Hubard departed to pursue other interests.

Secondly, I will look specifically at the career of Master Hubard as a silhouettist and paper cutter.

Thirdly, I will describe the history of the Gallery from his departure until it's closure in 1845.

Fourthly, I will follow with some information on one of the recorded artists, namely Master Hankes, whose work is virtually unknown to collectors in this country. Also, I will mention a number of other artists briefly — one of whom is known to have pursued a successful career on his own after the Gallery closed.

Fifthly, I will illustrate authenticated works of the Gallery, of men, women and children both bust and full length. You may recognise some of these from the literature but others will be from collectors and sale catalogues. Unfortunately, many of the illustrations from the catalogues have been reproduced in black and white — so the gilding can not be seen to its best advantage. Similarly, it is not possible to show the use of colour for the same reason — however I will give a brief description which I hope will complete the picture!

Sixthly, and finally, I will mention some of the Gallery's labels together with a brief description of the Gallery's characteristics that might help with attribution.

The Early History of the Gallery 1822-1826

In 1822 an "adroit showman" called Mr Smith discovered Master Hubard's talents and decided to establish the Gallery at Ramsgate in order to turn his prodigy's skills to commercial advantage. Nothing seems to be known about Mr Smith but he saw his opportunity and the history of the Gallery shows that he was able to run a successful enterprise. Interestingly it was at Ramsgate in it's first year that Hubard cut the silhouettes of the Duchess of Kent and Princess Victoria (then aged three and later to become Queen Victoria) at Townley House.

For the first two years Mr Smith took the Gallery all over the British Isles. The early months were spent in England visiting towns such as Sheffield, Manchester, Bristol and Liverpool. In January 1824 it went to Scotland and later that year to Dublin and Galway - finally arriving in America in August with "the boy" as the main attraction.

Hubard Gallery page 2

Between 1824 and 1826 the Gallery travelled about the States accompanied with much advanced publicity. It presented itself as a sort of show with other attractions to the paper cutting. The word PAPRYOTOMIA was coined to cover all types of cuttings by the gallery - these included sporting, military, architectural, flora and fauna subjects as well as portraits of distinguished people, family groups and much more. A PANHARMONICUM was added - this was a musical instrument made up of two hundred other instruments - so must have made a lot of noise. The Gallery was brightly lit and customers were invited to enter in with further tasteless additions and to pay a small fee to have their silhouettes cut in a few seconds "without drawing or machine, by sight alone and simply with a common pair of scissors by Master Hubard" (and presumably by any other boys!). Special offers were made to encourage customers to bring their friends and relatives to the Gallery. Often notices were given out that the Gallery would be moving by a certain date and it would be the last chance to partake of the goodies - i.e. "Tuesday is definitely the last day but, it was no surprise that the Gallery remained open after the announced date! Desmond Coke in his book "The art of Silhouette" is very scathing about this type of publicity and he felt that the Gallery's work was demeaned by it - however it was obviously successful in bringing in the customers. The Gallery remained open well into the evening frequently to cope with it's clients.

Mrs McKechnie takes the view that quite early on in the Gallery's history Mr Smith employed artists in addition Hubard and that probably only a small proportion was the "little boy's" work. The quality of the work varied greatly - some being described as "cheap and terribly unequal". Master Hubard decided to leave the Gallery for good on 29" March 1826.

Master Hubard - Silhouette Artist

It is not clear whether Hubard and Mr Smith fell out but there are earlier references to customers being able to choose another artist if they did not want to sit for Hubard himself. This seems a little odd unless Hubard was being "difficult" as he was the star attraction.

On leaving the Gallery, Hubard decided to take drawing lessons and to become a portrait painter. He married an American lady and took American citizenship. It seems he became a successful painter and had famous people sitting for their portraits. In later years he took up sculpture a field in which he was equally successful owning a foundry. It was at this foundry, which was then producing ammunitions, that he was injured by an explosion. He died from his injuries in 1862, when he was 53 years old.

Views on the quality of Hubard's work varies and these are coloured by the fact that he started his career as a boy prodigy. From the start he was made out to be younger that he was in order to enhance his paper-cutting skills. He was in fact born on 6th April 1809 in Whitchurch Shropshire - so he was 13 years old in 1822 when Mr Smith realised he had a "winner" on his hands. Hubard's talents were not only portraits, he was able to cut many scenes and objects. The following quote from Mr Smith's publicity explains it all i.e. - The Extraordinary Development of Juvenile Genius Master Hubard." Who "by a mere glance at the face and with a pair of common scissors!! not by the aid of that SCHOOL BOY AUXILIARY a PROFILE MACHINE nor from any sketch with Pen, Pencil or Crayon - but from sight alone!!! cuts out the most spirited and striking likenesses. HORSES, DOGS, CARRIAGES, and in short every object in Nature, or Art are the almost instantaneous productions of this TALISMANIC SCISSORS".

Hubard Gallery Page 3

Hubard's work is not considered to have been of a high quality by Desmond Coke and John Woodiwiss, but both considered it to be varied and versatile. According to Mrs Carrick (America's equivalent of Mrs N Jackson) at his best he compared very favourably with Edouart — "getting a better likeness of the person" in some cases. It is not certain whether he did his own gilding — probably not! Many of his authenticated works are very plain and straightforward but here again it is difficult to know who did what in the Gallery! On this page are illustrated some works known to have been cut by him.

This is a bust length silhouette of a man was owned some years ago by Ronald Kilner. He was a well-known collector, particularly interested in 19th century cut-outs. The sitter is very plain and simply cut but has a painted eye-lash. He is backed by a printed label confirming that he was cut by Hubard at the age of 13 years.

Master Cave on his Pony Flag is illustrated in John Woodiwiss's book (Illus. 59) and in Mrs McKechnie's book (page 319 no. 467). The boy and his pony are embellished with gold highlights and cut circa 1823.

The silhouette of a man holding a hat and cane (the cane is painted in) is illustrated in Desmond Coke's book. Note the shape of the shadows at his feet painted on the foreground.

Hubard Gallery page 4

Further bust length works known to have been cut by Master Hubard which are illustrated in Mrs Carrick's book.

The Later History of the Gallery 1826-1845

After the departure of Hubard the Gallery probably went to Canada and then back to America — finally leaving the continent in 1829 to return to England. During this time it continued to advertise Hubard's talents, although it is likely that Master Hankes was the main artist.

On returning to England the address used by the Gallery was 109 Strand, London. Labels with this address are therefore on the later works. Another address possibly used at this time was 48 Cornhill, London — an address that had been used in 1823. In the 1830s there is evidence that the Gallery travelled all over the British Isles i.e. Cornwall 1834, Liverpool, Southampton, Cambridge, Edinburgh, Dundee, Wales, Ireland and the Isles of Wight and Man. It seems that no stone was left unturned!

In the Valentine Museum in Richmond, Virginia there is a duplicate book of the work of the Gallery (possibly similar to Edouart's duplicate books). It consists of 352 full-length, 130 half-length and 127 bust-length. There was an article on this book in "Antiques" February 1944, which I have not been able to obtain a copy unfortunately. This book is likely to show all styles used by the Gallery during its history. In January 1948 there was a detailed survey and exhibition of Master Hubard's work presented by Miss Helen McCormick, the curator of the Valentine Museum.

It is likely that the Gallery under Mr Smith's guidance continued to use the same publicity tactics as it had done in America. The circumstances of it's closure in 1845 are not known, although we know some of the individual artists continued their careers on their own.

Artists other than Hubard who worked for the Gallery

Master Hankes

Hankes was the most prominent artist working with the Gallery in America. He did not come to England in 1829 although Mrs McKechnie has an entry on him in her book, (as he was born in England), with no illustrations as she had not seen any works by him that she could definitely attribute. He started work as a profilist in 1825 and is recorded as working for the Gallery in January 1828, when he is described as "a youth, who possesses the rare talent of delineating every object in Nature and Art with a pair of common scissors". Apparently he was about 29 years of age at the time! After Hubard's departure he became known as the "immediate and only successor to the celebrated Master Hubard". Although clearly other young men, not to mention young girls, were working for the Gallery — the later particularly in Salem, which was a great centre of silhouette work in America at this period. Hankes was a versatile cutter and amongst other subjects cut" an elegant and elaborate view of York

Hubard Gallery page 5

Hankes's works.

Both illustrations are from Mrs Carrick's book. The bust line on both ladies is quite distinctive in the way it shows the arm demarcation — a similar example could help with attribution. The lady on the left has some cursory gilding not of an especially good quality. The label would appear to have been used by Hankes after he left the Gallery — and set up his own?

Dr Holyoke aged 100 years, cut on a rough wash base with shadows. Also a photograph of a full-length man sold at a sale in the USA in 1997. A similar figure is illustrated in Peggy Hickman's "Silhouette. A Living Art" on page 46 of an unknown American circa 1820.

Hubard Gallery page 6

On this and the following pages I will he illustrating a large range of works attributed to the Hubard Gallery. Some of these are illustrated in the literature and others from collections. I will begin with bust and three-quarter length examples of men women and children. I will follow these with all kinds of full-length examples — some quite cursory in their high-lights and others with much detail of clothing and occasionally some colour as well. I will give a brief description of each illustration and reference where appropriate.

Bust Length

1. A typical example of the Gallery's work. Note in particular the two half-moons making the sleeve demarcation. Details in gold and bluish white. Trade label no. 5 c.1832. Illustrated in Mrs McK. p. 324 no. 594.

2. and 3. Are of a pair, illustrated in Mrs Carrick's book on p. 98. Colour has been used for her bonnet and scarf and gold for her curls — her bonnet is trimmed with blue ribbons. They are Martin Van Bures and his daughter-in-law Angelica. Mrs Carrick felt the painting on this pair was "delicate and delightful", whereas much of the work of the Gallery she described as "a bit course and heavy-lined".

 

 

 

 

 

 

 

Note the one half-moon on the lady below.

 

 

 

 

Hubard Gallery page 7

1. This is of a young girl c. 1831 with Trade Label no. 6. She is completely plain and some-what resembles similar work by Edouart. 2. Another young girl but this time she has considerable gold high-lights particularly on her bonnet and collar. Note the sloping bust line termination of both 1 & 2, but this cannot be relied upon for attribution. Both are illustrated in Mrs McK — 1 on p. 324 no. 493 - 2 on p. 153 no.220 and p. 355 no. 1 . 3. This lady is similar in style to those on page 6, having no bust-line termination and with the half-moon cut-out. At this point I will mention size. 1 & 2 are approximately 3.5" x 2.5" and 3 is 4" x 3".

4. This lady is a plain cut-out with Trade Label no. 5. Note her bust-line termination is quite flat but clothing is well shown. She is in Mrs McK p. 324 no. 491. 5. This man is embellished in Chinese white on his cravat, which is also tinted. His hair and clothing is shown by gold stokes Trade Label no. 6. Most works of the Gallery with a bust-line termination were housed in rectangular reeded black wood frames. Those without a bust-line termination were housed in papier mache or bird's-eye maple.

Hubard Gallery page 8

Full-length — Children

1. This girl is holding a sprig in her left hand and a basket in her right. Details of clothing and hair are in gold. Trade Label no. 8 on obverse and Trade Label no. 5 on reverse! 7" high. Lot 16 at Bonhams, New Bond Street on 07/10/2003. 2. This child holds a sprig of flowers in one hand and a basket in the other. More effort has been made with the foreground and note the long dark shadows. She has gold high-lights and is nearly 7" in height. Trade Label no.10 . Lot 32 at Bonhams on 28/09/2004. Both 1 & 2 are taken from B&W photos.

Both these works are ex. Peggy Hickman Collection. The boy was exhibited at the N.P.G. in 1972, he is without highlights holding a hat and signed on the obverse in paint "Hubard Gallery". The girl and her dog are bronzed and she is holding something for the dog. Note the concentric circles in the foreground and her shadows in watercolour. Dated 1831 and stamped "Hubard Gallery".

 

Hubard Gallery page 9

1. This boy holding a whip, aged about 7yrs., was cut c. 1838. He is wearing a Petersham coat with large sleeves, typical of the period. Note the very strong shadows at his feet. Illustrated in Mrs McK. p. 176 no. 256 — she took the view that he was by Samuel Thomas Gill as his cutting and painting is of a good quality.

2. This boy is dressed in a plaid dress with ruffled white collar, white trousers and a black hat with tassel. He is holding a model yacht with a harbour scene in the background. His clothing is heightened with gouache and gold pencil. Trade Label no. 9 on reverse. Lot 16 at Christie's S. Ken. on 09/03/1999. He is exceptionally well painted and probably also by Mr Gill. Both boys are likely to be about 7.5" in height.

3. The girl is holding a basket of flowers and a posy, the latter is difficult to see. Her hair is well bronzed but clothing bronzing is some what cursory. An attempt has been made with the foreground to show tufts and leaves. "Hubard Gallery, 48 Cornhill" is written in paint on the obverse. She is part of the Andrews Collection at Stoner House.

Hubard Gallery page 10

Full-length - Ladies

1. This lady wearing a bonnet and holding a book is typical of many of the Gallery's work. She is lightly bronzed and housed in a reeded frame. Note the shadow block a the base of her skirt. She is 10.6" high. 2 & 3 These two ladies also present very typical shapes of the period, when the Gallery was working at it's height. They both wear dresses with exaggerated gigot sleeves. The may be mother and daughter. Both have Trade Label no.8 on the obverse. Lot 8 at Bonhams New Bond Street on 19/09/1995.

4. This elderly Lady is seated holding a parasol. She is nicely highlighted with Chinese white, especially on her bonnet. Trade Label no. 9 ex. Mrs McK. Collection p325 no. 498. Lot 53 Bonhams on 04/03/2003. 5. This lady is another typical shape associated with the Gallery. She wears a shawl and holds a lorgnette on a ribbon. Note her shadows as her shirt does not reach the ground. Trade Label no. 8 Lot 33 at Bonhams 01/10/2002. 6. A young lady with shawl, heightened with cursory gold. 10.5" high and housed in a maple frame. Note her shadow shape with a slightly longer shirt than 5.

Hubard Gallery page I I

1 . Mrs Marson is wearing a bonnet and shawl. Details of her clothing are high-lighted in gold. Trade Label no. 8 10.5" high. Housed in black reeded frame. 2. Catherine Robinson, born 1812, is holding a book. She stands on a rough concentric foreground. Note the shadow block at her feet. Her base colour is dark grey and gold, black, Chinese white and a lighter shade of grey are used for clothing detail. Stencil on reverse states "Taken at the Hubard Gallery". 3. This lady is completely plain with no highlights or colour. "Hubard Gallery" is written in paint on the obverse. Ex. Peggy Hickman Collection and Exhibited at the N. P. G. In 1972.

Full-length — Gentlemen

4. This gent is wearing tight pantaloons, his hair en queue and is holding a pair spectacles. Trade Label no. 4. 10.5" high. This work may have been cut in America before the Gallery returned to England in 1829.

5. This gent is wearing a top hat and holding an umbrella tucked under his arm. Clothing detail in sepia, gold and Chinese white. Trade Label no.8 stamped on obverse. Lot 318 at Bonham & Brooks on 30/10/2001. 6. This gent is holding a top hat and he is on a dark grey base. Trade Label no. 8. Lot 8 at Bonhams on 03/02/2004. Note the shadows on all three gents which takes the form of a "V" at the back of their feet.

Hubard Gallery page 12

1. This is the Revd. Bloomfield Bishop of Chester and London holding a top hat — no clothing detail. Lot 23 Bonhams on 01/10/2002. 2. Mr Marson holding a cane with clothing in gold. Trade Label no. 8. 3. A town crier with gold braid on hat, red collar and blue waistcoat with gold buttons. Note shadows at feet and his typical stance. Lot 104 at Sothebys, London on 29/10/1979. Above figures are 10.5" high.

4. Richard Counsellor the Younger has a base colour of dark grey, details of clothing in black and Chinese white — hair, ears and spectacles in gold. An embossed stamp with "Hubard Gallery" on the obverse. Likely to have been cut late 1830. 5. An officer wearing a plumed cap and his uniform painted in colours. He is in the Andrews Collection at Stoner House and has been attributed to the Hubard Gallary on stylistic grounds. He is quite well painted and maybe by Mr Gill or Mr Norman — both artists pursued artistic careers after the Gallery closed.

 

 

 

 

 

 

 

 

 

Hubard Gallery page 13

Labels

Eleven Labels for the Hubard Gallery are recorded in Mrs McK. Three of these were used by the Gallery when Master Hubard was the attraction. Label no. 1 was hand written and is illustrated on p322 no. 479. Label no. 2 I have illustrated on page 3 of this article. Label no. 3 is very similar to Label no. 2 with the addition of "By that singularly gifted Little Boy". Labels no. 4 — 11 were used between 1829 and 1845. Some of these were almost handbills such as labels nos. 5 and 9. Since the publication of Mrs McK's Book, other labels have come to light. One of these gives an address "48 Cornhill" and another "109 Strand" - both these addresses are in London and I have illustrated a label with the latter address below.

I have selected three of the recorded labels that are of special interest. Label no. 4 is rare and probably only used in America and Canada after Master Hubard had left the gallery. Label no. 7 is a common label and is likely to be seen on the reverse of works. I have seen it on the obverse as well. Label no. 11 is an embossed label which I have only seen on the obverse on works of the Gallery after 1840. It can often be 'missed' by collectors as not infrequently it is hidden behind the frame at the left-hand base of the work. See Mrs McK. on p. 322 and p. 327 for further labels and handbills.

It is of a three-quarter length gentleman photographed on the bottom of page 6 of this article. Strangely his laxly companion (query wife) bought at the same time and without doubt by the Hubard Gallery did not have any label. Perhaps this indicates that labelling was not entirely consistent?

It is recorded that the Hubard Gallery used an address in the Strand before it went to America — it is possible that it returned from America to the same address. The Strand as we know from the history of Miers and Field was a popular venue for silhouette artists during the early part of the nineteenth century.

This label is unrecorded as far as I know, but may have turned up at Sales.

Hubard Gallery page 14

Frames

The most common frames used by the Gallery were black reeded wood frames. These were used in all sizes for bust and full-length works. 1. is an example of these — the lady is on page 11. Sometimes works were housed in superior birds-eye maple frames with a gilded wood inset. These frames one would expect on more up-market works, but this is not always the case! 2. Shows this type of frame well — gent on page 12, which is also used for bust length works. Standard papier mache frames were rarely used for bust length works and may have been re-framed by their owners.

Attribution Points

Attributing a work to this Gallery without a label will never be easy, but I would like to make a few points which may be helpful. Also I except that some of the points will apply to the work of other galleries working in the 1830 — 1845 period. Such as the Royal Saloon of Arts, Prosopographus — the Automaton Artists and the Adelaide Gallery. Also I suspect that out-put of the Hubard Gallery was quite prolific, as well as varying from very plain unadorned to those with detailed high-lights and much colour.

1) All works will be cut-outs.

2) All dressed in costume of 1820— 1845.

3) Full-length figures of adults about 10.5" high and frequently holding in the case of ladies a book, glasses or flowers and in the case of gentlemen a stick, umbrella or hat.

4) Full-length children about 7.5" in height. Girls holding baskets and/or sprigs of flowers. Boys holding a hat or whip.

5) Base colour usually black but could be dark grey on more finished works.

6) High-lights — gold on hair and both gold and colour can be on clothing.

7) Three-quarter length ladies may have half-moon cut-outs to show sleeve.

8) Foregrounds — rough with little care taken on the whole.

9) Shadows at feet — with men, a shadow from each foot converging to a "V" shape usually at the back of the figure, but can be at the front! Similarly with ladies except where the skirt reaches the ground when it becomes a 'smudge' of black at the front. This point can be seen clearly in both examples above.