Fame Takes Half-Century to Reach 19th Century Quincy Artist

Elliot Douglas
Until 1942, the only attention 19th century Adams County artist John Quidor gained for his art was a lawsuit he won in a New York City court in 1822. Quidor’s was a hard-luck life. Even his court victory worked against him.
Quidor, among the first land speculators in the Illinois Military Tract, which brought him to Quincy in 1837. He was born January 26, 1801, in Tappan, New York and moved with his parents to New York City. At seventeen he was indentured for artistic training to portraitist John Wesley Jarvis. Four years later, he sued Jarvis for “breach of indenture.” In his filing, Quidor contended he had been faithful to the contract, keeping Jarvis’s professional secrets, obeying his commands, and acting frugally with his goods. As the agreement required of Quidor personally, he did not fornicate or marry, gamble, leave without permission, or haunt ale houses or taverns during his apprenticeship.
A jury found for Quidor and awarded him damages of $251.35, one-tenth of the $2,500 he sought. The win was a mixed blessing. It was as damaging to Quidor’s reputation as an artist as it was to Jarvis, because Quidor had to admit that he had received inadequate training.
When he later took on apprentices at his own New York City studio, Quidor was no more attentive to his understudies than Jarvis. Apprentice Thomas B. Thorpe could not remember Quidor providing “anything but easel room and one or two common engravings to copy.” He would leave the studio for weeks, Thorpe recalled, and when present would “lie at full length on the long bench” and sleep.
Most notable of Quidor’s apprentices was Charles Loring Elliott of Albany, who is considered one of the finest portraitists of the 19th century. Among his approximately seven hundred paintings were portraits of novelist James Fennimore Cooper, photographer Matthew Brady, and the Republican Party’s first presidential candidate, John C. Fremont. In December 1840, Elliott finished his portrait of 27-year-old Illinois lawyer Stephen A. Douglas just before Douglas arrived in Quincy three months later as an Illinois Supreme Court justice and circuit judge. The portrait is on the cover of the first volume of this reporter’s biography of Douglas.
Quidor believed he had found a niche in painting scenes from popular novels of Cervantes, James Fennimore Cooper, and Washington Irving. They were not simply illustrations. The literary themes were the inspiration for his work, interpretations to richly mock customs and prejudices of his days. His first work, a 27-by-23-inch oil painting, “Dorothea,” romanticized the young woman in Cervantes’s Don Quixote. It demonstrated his talent. The National Academy of Design exhibited the painting in 1828. But his paintings did not sell.
Quidor was forced to turn to novelty art to make a living. He painted tavern signs, parade banners, decorations for steamboats, and ornamental panels for fire engines of volunteer fire companies. His income was enough to finance investments in bounty land in Western Illinois’ Military Tract. On July 31 and November 1, 1823, he bought two 160-acre parcels of land for $50 each near what would later be platted the Village of Columbus. He had earned enough to pay off the land by late 1827. His father Peter also bought properties there.
When fire destroyed his studio and cholera broke out in New York City in 1837, Quidor decided to move with his wife Eliza Jane Harkins Quidor to Quincy. Arriving broke and discouraged, Quidor found a friend in commercial artist H. Bebehauser, whose studio was just east of the Quincy House hotel on the southeast corner of 4th and Maine Streets. Bebehauser was dissatisfied with an emblem he was painting for a local fraternal organization. Quidor volunteered to help. Bebehauser was entirely satisfied with the result.
Their friendship established, Bebehauser financed Quidor’s desire to paint a scene from the Book of Revelation, he called “Death on the Pale Horse.” With Bebehauser planning to help paint the massive canvas, the artists secured the basement of the Congregational Church, then known as the “Lord’s Barn.” On a canvas seventeen feet wide by eleven feet tall, the larger-than-life horse seemed to leap from the canvas. The work was displayed to admiring locals, first on a wall of the county courthouse, then exhibited in communities of several southern states.
Art historian David M. Sokol suspects Quidor was in Quincy as early as 1834. He and his wife bought a small tract of land sold by town commissioners at a land auction that year. The deed was recorded and several more land deals, for which he and his wife are listed as Adams County residents, occurred in 1837. In that year, Sokol notes, Quidor opened a studio in downtown Quincy. There his interest in literary themes found maturity, and from there he sent paintings to New York exhibitions.
In 1844, Quidor bought a 640-acre farm near Columbus for $8,000 from the Rev. Rapin Ellsworth Smith, once a Congregational minister in Columbus and later a resident of Quincy. Quidor promised to deliver eight large Biblically-themed paintings, each to be worth at least $1,000, over eight years. A note dated April 15, 1849, on the Quidor-Smith agreement reports that Quidor satisfied the agreement. Sokol suggests that habitual drinking caused Quidor to close his Quincy studio and give up farming. Smith recovered the farm, and John and Eliza Jane Quidor in 1851 returned to New York with their children. The whereabouts of the religious paintings is unknown.
In 1868, Quidor retired to the home of his eldest daughter, Anna Quidor Doyle, in Jersey City Heights, New Jersey. He died there on December 13, 1881.
Quidor never achieved professional success during his lifetime. But in 1942, John I. H. Bauer, painting and sculpture curator of the Brooklyn Museum, discovered Quidor. Baur’s catalogue, John H. Quidor, 1801-1881, provided critical status to the 19th century Quincy and Adams County artist. From that point on, his reputation as an important American romantic and Hudson River School artist has not waned. More than a dozen major art galleries and museums own and exhibit Quidor’s paintings.
Reg Ankrom is a member of the Historical Society of Quincy and Adams County. He is a local historian, author of a prize-winning two-volume biography of U.S. Senator Stephen A. Douglas, and a frequent speaker on Douglas, Abraham Lincoln, and antebellum America.
Sources:
Adams County Deed Index I, Book A, Film #8547717, 142, 143.
Adams County Deed Index I, Book A, Film #967530, 142, 143, 144, 153; Book E, 179; Book H,
297, 625, 626, 628; Book J, 347; Book Q, 6; Book U, 418; Book W, 555, 556, 662; —, “No. 4987, December 19, 1844, Quidor to Smith,” 556-557.
Ancestry.com, U.S. College Student Lists, 1763-1924. [database online]. Provo, UT.
Roxana Barry, “Ripe for Revival: Forgotten American Artists,” ArtNews. HSQAC File MS Q,
“Adams County Artists: John Quidor, 1801-1808.”
Colin Fleming, “’The Legend of Sleepy Hollow’ in Three Paintings,”
https://www.thesmartset.com/getting-to-the-bridge/
“John Quidor,” History Today,
https://thtsearch.com/content/John-Quidor/
“John Quidor, American, “John Quidor, 1801-1881,” Spellman Gallery,
https://www.spellmangallery.com?artistss/john-quidor1801-1881
,
” National Gallery of Art,
https://www.nga.gov/collection/artist-info.2820.html
Jim Lane, “Art Now and Then,”
www.art-now-and-then.blogspot.com/2015/07/john-quidor.html
“Rapin Ellsworth Smith in the U.S.., College Student Lists, 1763-1924,” Ancestry.com [database
online]. Provo, UT.
Ernest Rohdenburg, “The Misreported Quidor Court Casse,” The American Art Journal, Vol. 2,
No. 1 (Spring 1970), 75.
David M. Sokol, “John Quidor, Literary Painter,” The American Art journal, Vol. 2, No. 2
(Spring 1970), 62, 66-69
“Story of Old Quincy Times,” Quincy Daily Journal, April 22, 1910, 9, 11.
Robert Wilson Torchia, American Paintings of the Nineteenth Century, Part II. (New York:
Oxford University Press, 1998), 80.

Headless Horseman 1839





