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Christian Friedrich Mayr
Magazine Antiques, Nov, 1998 by Helene M. Kastinger Riley
7 Ibid., winter term 1821-1822.
8 Allgemeines Lexikon der bildenden Kunstler, vol. 24 (Seemann, Leipzig, 1930), p. 466.
9 Georg K. Nagler, Neues allgemeines Kunstler-Lexikon, vol. 9 (Manz, Vienna, 1924), p. 524.
10 First settled in 1636, Brooklyn was incorporated as a city in 1834.
11 The decoration was originally called the "Badge for Military Merit" and consisted of a heart-shaped piece of purple silk with a narrow binding of silver braid. The word "merit" was stitched across the heart in silver. The Purple Heart in its modern version was instituted in 1932.
12 Brent H. Holcomb, South Carolina Naturalizations 1783-1850 (Genealogical Publishing, Baltimore, 1985), p. 24.
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13 Charleston Courier, February 20, 1840.
14 Ibid., February 13, 1841.
15 Ibid., February 25 and September 27, 1841.
16 Ibid., August 25, 1841. Other raffle dates were also set by him after a sufficient number of tickets had been sold.
17 The painting was completed and raffled in 1841. The winning ticket was held by the son of R. Wainwright Bacot, the president of the Phoenix Fire Company. The painting was later presented to the Charleston City Council.
18 John Peyre Thomas, The History of the South Carolina Military Academy (Charleston, 1893), pp. 27-34.
19 The attempted uprising was led by the free black Denmark (Telemaque) Vesey (c. 1767-1822) and sympathizers. Starting at midnight on Sunday, June 16, 1822, the slaves intended to capture the city's arsenal and guardhouse and then slaughter all whites indiscriminately. The plan was betrayed and thirty-five of the conspirators, including Vesey, were executed (ibid., pp. 13-17).
20 Ibid., p. 12.
21 Ibid., p. 20.
22 New Orleans Commercial Bulletin, January 24, 1844.
23 The painting is discussed in Elizabeth Johns, American Genre Painting: The Politics of Everyday Life (Yale University Press, New Haven, 1991), p. 114; and R. Lewis Wright, Artists in Virginia before 1900: An Annotated Checklist (University Press of Virginia for the Virginia Historical Society, Charlottesville, 1983), p. 107.
24 Charleston Courier, April 10, 1840.
25 Christian F. Mayr listing, Inventory of American Paintings Executed before 1914, National Museum of American Art, Washington, D.C. See also National Academy of Design Exhibition Record, 1826-1860, comp. Bartlett Cowdrey (New-York Historical Society, New York, 1943), vol. 2, p. 22.
26 National Academy of Design Exhibition Record, 1826-1860, vol. 2, p. 21; The National Museum of American Art's Index to American Art Exhibition Catalogues From the Beginning through the 1876 Centennial Year, comp. James L. Yarnall and William H. Gerdts with Katharine Fox Stewart and Catherine Hoover Voorsanger (G. K. Hall, Boston, 1986), vol. 4, p. 2343. The painting is listed as for sale by its owner, S. Cariss.
27 The latest discussion of Mayr, listing earlier writings about him and containing a catalogue of his works, is in Katharina Bott, Deutsche Kunstler in Amerika, 1813-1913 (Verlag und Datenbank fur Geisteswissenschaften, Weimar, 1996), pp. 163-166. See also Anna Wells Rutledge, Artists in the Life of Charleston: Through Colony and State from Restoration to Reconstruction (American Philosophical Society, Philadelphia, 1949), pp. 163-164, 237, 240, 242-245; Teresa A. Carbone, At Home with Art: Paintings in American Interiors, 1780-1920 (Katonah Museum of Art, Katonah, New York, 1995), pp. 14-15, Fig. 8; and National Academy of Design: Exhibition Record 1826-1860, vol. 2, pp. 21-23.
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