5 15 183 https://omeka.wilkes.edu/omeka/files/original/f5fc7bb8c7cd722c0994c333d515daf7.pdf a95d699aa550e00dcca59825994a9840 PDF Text Text sr.tr,*;:: i$. * i:tl ! ,as.";b.i&!.. .&" " lJdll.gratrr. j;.' ,..:f ' Klaus Holm: Stages In Retrospect I �Sordoni Art Gallery Wilkes College 150 S. River Street, Wilkes-Barre , PA 18766 717-824-4651 Non-Profit Org. U.S. Postagle PER.I{IT #355 Wlkes-Barre, Pa. Pleasejoin us for an opening reception in honor of Klaus Holm: Stages In Retrospect An exhibition at the Sordoni Art Gallery Co-sponsored by Cue'n' Curtain, Wlkes College. Saturday, November 14, 1987 3-5 p.m. (The exhibition will continue through Decanber 13, 1987) Also announcing WHAT YOU WILL (Scenes and Songs from Shakespeare) Written and directed by Michael O'Neill PerformancesNovember 13, 14, 15 Dorothy Dickson Darte Center for the Performing Arts Please call the box office at 8244651, ext. 416 for further information � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 November 14 Klaus Holm: Stages in Retrospect Creator An entity primarily responsible for making the resource Klaus Holm Date A point or period of time associated with an event in the lifecycle of the resource 1987 November 14 - October 13 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/d61fc97533710f2be905296a707ea984.pdf c164a040a1a516dbcd0b141ee5197807 PDF Text Text �fF+ ffit$i",.,*n "J,n",-uu..", PA tBZ66 717-824-4651. Announcing Season's Greetings with Selections from the Permanent Collection Sordoni Art Callery, Wilkes College December 20,1987 -January 51, 19BB (Closed December 24, 25, 51 and January 1) This exhibition will highlight recent acquisitions, works on paper, and works by regional artists. Edward Potthast (1857-1927\, Children at the Beach, n.d., watercolor llt/zxl5t/z inches. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 December 20 Season's Greetings: Selections from the Permanent Collection Date A point or period of time associated with an event in the lifecycle of the resource 1987 December 20 - 1988 January 31 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition highlights acquisitions recent to 1987, works on paper, and works by regional artists Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/325bb9138dfaf1ddc71e35f3f187cc3f.pdf 710da269e0f53580c344275c83b7598f PDF Text Text ��������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1988 April 10 American Art Since WWII from the Maslow Collection Creator An entity primarily responsible for making the resource Robert Motherwell Jasper Johns Robert Rauschenberg Andy Warhol Roy Lichtenstein Jim Dine James Rosenquist Ellsworth Kelly Frank Stella Sol LeWitt Ed Ruscha Chuck Close Francesco Clemente Deane Berger Deane Berger Date A point or period of time associated with an event in the lifecycle of the resource 1988 April 10 - May 8 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The Maslow Collection offers an opportunity to come to better understand contemporary times through the exposure to a body of art containing notable works by major artists from important stages of contemporary art. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/980d8a3781e9c9494c4646644079c2d3.pdf 8d13b4443f3675dd84b25ef483672078 PDF Text Text ��������������������������� https://omeka.wilkes.edu/omeka/files/original/e983dc6a8bb65e703cf5b13f01dc8d6e.pdf 7ff6384e75027fbfaa4ac288a10d1cfe PDF Text Text -I JOHN WILKES & ISAAC BARRE: ■ • ■: I i Ii I ■ i = i 2 I Politics and Controversy ■■ m Eighteenth Century Graphics SORD GA ZF. ,1 NE962 W54J6 1988 o �JOHN WILKES & ISAAC BARRE Politics and Controversy in Eighteenth Century Graphics Based on Engravings from the McClintock Collection of Wilkes College Sponsored by Lewith & Freeman Real Estate Inc. Marquis Art and Frame Merchants Bank North Morrison's Custom Management Offset Paperback Mfrs., Inc. Pennsylvania Gas and Water Company E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA Sordoni Art Gallery Wilkes-Barre, Pennsylvania June 19 through July 24, 1988 �1 ARCHIVES Exhibition organized by Judith H. O'Toole Annie Bohlin and F. Charles Petrillo, Guest Curators Essays by Harold E. Cox, PhD, and F. Charles Petrillo Catalog design by Annie Bohlin This exhibition is supported in part by a grant from the Pennsylvania Council on the Arts. Copyright by the Sordoni Art Gallery, Wilkes College, 1988 Front cover: Exhibition No. 3 Back cover: Exhibition No. 39 __ TABLE OF CON Lenders to the Exhibition Acknowledgements John Wilkes & Isaac Barre: Politics and Controversy in Ei Graphics, by Harold E. Cox, PhD Wilkes, Barre, and Revolution, by Harold E. Cox, PhD Insulting a King: The Naming of Wilkes-Barre, by F. Cha Illustrations Checklist of the Exhibition �Ill sd by Judith H. O'Toole irles Petrillo, Guest Curators , PhD, and F. Charles Petrillo a by Annie Bohlin >ported in part by a grant nia Council on the Arts. rt Gallery, Wilkes College, 1988 TABLE OF CONTENTS Lenders to the Exhibition........................................................................ .IV Acknowledgements................................................................................ .V John Wilkes & Isaac Barre: Politics and Controversy in Eighteenth Century . .1 Graphics, by Harold E. Cox, PhD.................................................... . .9 Wilkes, Barre, and Revolution, by Harold E. Cox, PhD......................... .17 Insulting a King: The Naming of Wilkes-Barre, by F. Charles Petrillo.... .21 Illustrations............................................................................................ .40 Checklist of the Exhibition.................................................................... Exhibition No. 3 xhibitionNo. 39 Qf). �LENDERS TO THE EXHIBITION ACKNOWLEI American Antiquarian Society, Worcester, Massachusetts William L. Clements Library, The University of Michigan McClintock Collection, Eugene Shedden Farley Library, Wilkes College The New York Public Library I The idea for this exhibition began in 1985 wh tion, Vale of Wyoming: Nineteenth Century Images f we discovered important materials relating to Jot lected by Gilbert S. McClintock and given to Wi Among these were books, letters, and contempon of the two men for whom our city is named. The extraordinary collection. I am indebted to Annie Bohlin and F. Chari: organizing all phases of it. Annie became aware o while working on an inventory of its books in as: with this exhibition and the McClintock Collecti came interested in the historical value of the eng Dr. Harold E. Cox, Professor of History at Wilkes < 18th century references. Professor Cox's essays p: plain the complex images that a modern audienc Charlie's essay describes men and events of th Wilkes-Barre was named. Robert Paustian, Director of the Farley Libra: cial Collections, were helpful in permitting acce: dell, Curator of Prints at The New York Public Li Arts at the American Antiquarian Society; and A liam L. Clements Library, The University of Mi< sources in helping us to locate important prints i loans from their respective institutions. The folic research: Joan Hall Sussler, Curator of Prints, Th tharina Slautterback, Administrative Assistant, Y ant Curator, and Thomas Lange, Associate Curat: brary - Art Collections - Botanical Gardens; Inge The Pierpont Morgan Library, New York; James Library at Cornell University; and Joan Diana, Lil vania State University. In addition, we thank the us suggestions on sources and assistance in locati We are grateful for the grants given in suppo provided funds to match an award from the Penn & Freeman Real Estate Inc., Marquis Art and Fran Management, Offset Paperback Mfrs., Inc., and out their important contributions this catalog wo Judith H. O’To< �I EXHIBITION ircester, Massachusetts University of Michigan Farley Library, Wilkes College c Library ACKNOWLEDGEMENTS The ldea for this exhibition began in 1985 when we were compiling research for the exhibi­ tionVale of Wyoming: Nineteenth Century Images from Campbell's Ledge to Nanticoke. At that time we chscovered important materials relating to John Wilkes and Isaac Barre which had been col­ lected by Gilbert S. McClintock and given to Wilkes College at the time of his death in 1959. Ajnong these were books, letters, and contemporary engravings that reveal the political exploits of the two men for whom our city is named. The majority of items included here are from that extraordinary collection. I am indebted to Annie Bohlin and F. Charles Petrillo for initiating the exhibition and for organizing all phases of it. Annie became aware of the significance of the McClintock Collection while working on an inventory of its books in association with Rita Wolberg, whose assistance with this exhibition and the McClintock Collection is also very much appreciated. Charlie be­ came interested in the historical value of the engravings and subsequently enlisted the help of Dr. Harold E. Cox, Professor of History at Wilkes College, in interpreting their often complicated 18th century references. Professor Cox's essays provide contemporary historical context and ex­ plain the complex images that a modern audience might otherwise find obscure and puzzling. Charlie's essay describes men and events of the Wyoming Valley in that era, and tells how Wilkes-Barre was named. Robert Paustian, Director of the Farley Library, and Lorna Darte, Librarian in charge of Spe­ cial Collections, were helpful in permitting access to the McClintock Collection. Roberta Wad­ dell, Curator of Prints at The New York Public Library; Georgia B. Barnhill, Curator of Graphic Arts at the American Antiquarian Society; and Arlene Shy, Head Reader - Research at the Wil­ liam L. Clements Library, The University of Michigan, were generous with their time and re­ sources in helping us to locate important prints not in the McClintock Collection and to secure loans from their respective institutions. The following people were also gracious in helping our research: Joan Hall Sussler, Curator of Prints, The Lewis Walpole Library, Yale University; Ca­ tharina Slautterback, Administrative Assistant, Yale Center for British Art; Susan Naulty, Assist­ ant Curator, and Thomas Lange, Associate Curator, Rare Book Department, The Huntington Li­ brary - Art Collections - Botanical Gardens; Inge Dupont and the staff of the Reading Room of The Pierpont Morgan Library, New York; James Tyler, Department of Rare Books of the Olin Library at Cornell University; and Joan Diana, Librarian of the Wilkes-Barre campus of Pennsyl­ vania State University. In addition, we thank the many other historians and librarians who gave us suggestions on sources and assistance in locating materials during our research. We are grateful for the grants given in support of this exhibition by the six companies who provided funds to match an award from the Pennsylvania Council on the Arts. They are Lewith & Freeman Real Estate Inc., Marquis Art and Frame, Merchants Bank North, Morrison's Custom Management, Offset Paperback Mfrs., Inc., and Pennsylvania Gas and Water Company. With­ out their important contributions this catalog would not have been possible. Judith H. O'Toole, Director ■ �IV / L K E S & I S A A C B A R R E POLITICS AND CONT EIGHTEENTH CENTUI Exhibition No. 1 The active political life of John Wilkes (1727-1797) ture in England. This was stimulated initially by Sir Josl lished himself as a portrait painter in London in 1753. which rose from about five and one-half pounds for a hi five pounds only seven years later. Reynolds was folio rough (1727-1788) and George Romney (1734-1802). G and landscape painter. He treated nature in an imagii and combined portraiture with landscape background: trait painter, particularly in the late nineteenth cent spread beyond portraits into fields such as historical p; sical mythology and concentrated on classical attire.: gland was rising to a position of dominance in the work by the American Revolution, historical painting becaj pies in the "grand style" were not expanded upon. I current events. The earliest exponent was Edward Penny, who 1 "The Death of Wolfe.” During the French and Indiar Wolfe had led a daring ascent of the Heights of Abra River in September 1759 to capture the city of Queba his French adversary Montcalm had been mortally w battle. Wolfe came to be the symbol of the new Englisl historical event has generated more artistic activity w famous version of "The Death of General Wolfe" wa: born in Springfield, Pennsylvania, although he spent ite painter of King George III, who purchased historii ing more than 34,000 pounds in the process. The We exhibit. Since the average Englishman could not aft lively market developed in engravings copied from t ture netted 6,000 pounds for the engraver and 15,000 ] sum in a time when the working head of a family mij week. An increasing market for engravings and prints of the middle-class, if not the workers. The picture is < included. Directly above Wolfe in the center of the Wolfe's head, is Isaac Barre. Another major contributor to the art of Georgian whose satirical works are a history of contempora moved to prints and discovered the profit potentia among all classes. In a politically charged atmospher cal purposes, and Hogarth became the most famous the son of Israel Wilkes, a malt distiller, had the bene influential and profligate friends who established h bury in 1857. He was an opponent of both the domes! of Bute (1713-1792). the prime minister to King Get minister. Wilkes blamed Bute for blocking Wilkes' h eluding the governorship of Quebec. Early in his po mous political pamphlets which attracted the attenti �s & ISA AC BARRE JOHN WILKES & ISAAC BARRE 1 POLITICS AND CONTROVERSY IN EIGHTEENTH CENTURY GRAPHICS ■ tion No. 1 ; /a z. ///" / Z?z// ’/ft rr/c rnnah°H 7ZsfeV^n/eafS ^eYno^s was followed by such figures as Thomas GainsboA I , ! an George Romney (1734-1802). Gainsborough gained renown as a protrait and landscape painter. He treated nature in an imaginative rather than topographical fashion, an com me portraiture with landscape backgrounds. Romney became a popular English por­ trait painter, particularly in the late nineteenth century. The new enthusiasm for native art spread beyond portraits into fields such as historical painting. Reynolds chose figures from clas­ sical mythology and concentrated on classical attire. Since this was also a period in which England was rising to a position of dominance in the world, only temporarily disrupted in the 1770s by the American Revolution, historical painting became more contemporary. Reynolds' exam­ ples in the grand style were not expanded upon. Rather there was a vogue for paintings of current events. The earliest exponent was Edward Penny, who first attracted attention with his painting "The Death of Wolfe." During the French and Indian War (1754-1763), British General James Wolfe had led a daring ascent of the Heights of Abraham from the banks of the St. Lawrence River in September 1759 to capture the city of Quebec, the key to control of Canada. Wolfe and his French adversary Montcalm had been mortally wounded almost simultaneously during the battle. Wolfe came to be the symbol of the new English imperial position, and probably no single historical event has generated more artistic activity with more wildly varying results. The most famous version of "The Death of General Wolfe" was by Benjamin West (1738-1820), who was bom in Springfield, Pennsylvania, although he spent his career in England. West was the favor­ ite painter of King George III, who purchased historical works from him for forty years, spend­ ing more than 34,000 pounds in the process. The West painting has specific significance to this exhibit. Since the average Englishman could not afford the prices charged for such works, a lively market developed in engravings copied from these pictures. An engraving of West's pic­ ture netted 6,000 pounds for the engraver and 15,000 pounds for the seller by 1760, an incredible sum in a time when the working head of a family might make only ten shillings (half a pound) a week. An increasing market for engravings and prints developed, and art came within the means of the middle-class, if not the workers. The picture is also of interest for the historical personages included. Directly above Wolfe in the center of the picture, with his chin virtually resting on Wolfe's head, is Isaac BarrA Another major contributor to the art of Georgian England was William Hogarth (1697-1764), whose satirical works are a history of contemporary English manners. It was Hogarth who moved to prints and discovered the profit potentials in the wide circulation of cheap prints among all classes. In a politically charged atmosphere, the print soon came to be used for politi­ cal purposes, and Hogarth became the most famous political cartoonist of his age. John Wilkes, the son of Israel Wilkes, a malt distiller, had the benefit of a liberal education and a fraternity of influential and profligate friends who established him as a member of parhament from Aylesbury in 1857. He was an opponent of both the domestic and foreign policy of John Stuart, 3d Earl of Bute (1713-1792), the prime minister to King George III, and England's first Scottish prime minister. Wilkes blamed Bute for blocking Wilkes' hopes for certain political appointments, in­ cluding the governorship of Quebec. Early in his political career, Wilkes had published anony­ mous political pamphlets which attracted the attention of both the public and the King. No. 1 No. 1A No. IB �JOHN WILKES & ISAAC BARRE JOHN WILKES & personal dislike, the fight being initiated by^ a^ti ^d^i^isfration journal North Briton. Wilkes re1762 when ^!lk“MbegqrXaS about to publish a political cartoon in which Wilkes, Churchill, ceived word that Hogarth , Churchill was an Anglican clergyman who became Temple and Pitt would app • debauchery probably surpassed even those of Wilkes' closest friend a s n Richard Temple was a follower of Wilr^^mit^hp^lder^ lTOT^dT^S)3 whohadledthecountry asprimeminister duringthe Seven Years War He esigned ^IpoZn io 1861, being replaced by the Earl of Bute. By this time Pitt was Solved hi^strugglewith the "King's Friends" for control of the government. Temple encoura^etwSkes wrote^toHoga^tlrdeda^g’that the proposed cartoon entitled "The Times," would No. 2 No.2A No. 3 No. 4 No. 5 No. 6 be unfriendly and asked him not to publish it. Hogarth replied that he cartoon contained Pitt and Temple, but not Wilkes and Churchill. Wilkes then stated that attacks on his; friends would result in counter-attacks and followed up his threat with publication of theNorthBn ton No. 17 in September 1762 in which he attacked Hogarth personally. Hogarth was described as having a rancorous and malevolent mind and as being a declining painter. Wilkes made much of Hogarth's new title of "serjeant-painter" to the king, stating that it meant house-painter. Churchill is believed to have made additions and revisions to the text. For some unknown reason Wilkes didn’t think that Hogarth would be offended, but he was mistaken. On 23 April 1763, Wilkes published his famous North Briton No. 45, which attacked the administration and re­ sulted in Wilkes' arrest for libel. On 6 May, Wilkes appeared before a packed court and was discharged on the grounds of parliamentary privilege, as he was an elected member from Ayles­ bury. He was hailed by the crowd with the cry, "Wilkes and Liberty." Hogarth was at the trial and made sketches from which, ten days later, came an unflattering print of Wilkes bearing a liberty cap on a pole. It is worthy of note that the table contains not only a document labeled North Briton No. 45, but also one labeled North Briton No. 17. Hogarth had exacted his revenge. He would get even with Churchill in August when he published a caricature of the former clergyman as a bear in clerical garb. Wilkes was a caricaturist's dream. Joshua Reynolds described him as having a low, short forehead, "shorter and lower" nose, "long and projecting" upper lip, crooked jaw, and "eyes sunken and horribly squinting." Hogarth obviously made the most of what he had to work with. Another source indicates that Wilkes also had very bad teeth in his later years. Hogarth's draw­ ing shows that the deterioration was already setting in. The Hogarth picture spawned a host of copies. These include a French version which prominently shows (and misspells) North Briton No. 17, while hiding No. 45 in the frame of the portrait. Another version, obviously copied from Hogarth, but reversed, shows Wilkes holding a copy of the Magna Carta. A relatively late picture . Wilkes, presumably made when he was Mayor of London in 1775, and containing no political significance, is a softened version of Hogarth, also with the pose reversed. The eyes are not as pronouncedly crossed as m Hogarth and the earlier copies. While the teeth are as bad as ever, the chin has been softened and if an oil painting of Wilkes made in 1779 by John Zoffany is accurate, is much closer to his actual appearance. 1 conJi^a CaricJtu^e could also be turned against the enemies of Wilkes. This reversed OneYof th^m^n J!pr° f ofJl°?arth's original with the addition of Lord Bute to the picture, and his allies Wilkes° i M been c^arges of corruption and bribery against Bute otherwise anonvmou-s arC 1' ^aunc^ec^ a direct attack on Bute to supplement the rSeTshE T r the?°rth Briton- « * likely that the cartoon dales from May to bribe Wlkes Publication of the Hogarth original. In this print, Bute is shown trying tas-*—' But if a round sum in the dark Not offensible, now that barga Asham’d of such meanness di Wilks answer'd thus, as I'm c "Avaunt, vile corrupter, I’ll tai I'll be true to old England, the Wilkes had taken care to attack those around 1 that George III appears in the background express! that the cartoon was commissioned by Wilkes or a ing up Bute's shoulder labeled Temora and Fingal w to Bute's Scottish origins. One James MacPherson epic poems which he had "discovered." Fingal, an Language appeared in 1762. Temora was published fore the appearance of this cartoon. MacPherson w ricated the poems from fragments, and MacPherso The dispute over North Briton No. 45 also gem heroic portrait credited to J. Miller, with approprial appeared on 30 June 1763, six weeks after the Hoga it described Wilkes as "member of parliament for. Great without Title, beyond ft Rich, ev'n when plunder'd, h< Lov’d without Youth, & follow At Home, tho' exiled; free, the The piece was credited to a publisher named A much more flattering portrait than Hogarth's, it cai same enthusiasm with which Wilkes' opponents shifted the body slightly to the front but faithfully Another work published in June 1763 at the pi designed as the frontispiece of a pro-Wilkes pamp ports to show Wilkes in the Tower and bears not th ing the eyes, which both stare steadfastly forward graver was covered in part by the heavy black gr imprisonment. This bears the same similarity to ri The top of the print is captioned A Wit's a Feather, an An honest Man’s the b This was taken from Alexander Pope's Essay o, of fame. Pope divided famous men into two clas heroes, giving little credit to either. The wise mei and showy; the heroes, whom he considers the : honest men is then given, an opinion obviously choice of a selection from An Essay on Man was ire November 1763, Wilkes would come under attack entitled An Essay on Woman and, as a result, wort 1764. By this time, Wilkes had fled to Paris and i cherub in the foreground holds the obligatory lit blade reads, "Let Justice hold the Scale." Perhaps the most widely-copied pro-Wilkes Dutch/English bilingual version was engraved a: Reynolds had described in such uncomplimentary Even the crossed eyes had been downplayed by pl extreme left of the picture is marked Sydney on ( �a ? BARRE vitable that Hogarth would depict t so much of political disputes as of id Hogarth were friendly until June on journal North Briton. Wilkes reirtoon in which Wilkes, Churchill, Anglican clergyman who became irobably surpassed even those of lard Temple was a follower of Wilne minister during the Seven Years Earl of Bute. By this time Pitt was if the government. Temple encour- toon, entitled “The Times," would ied that the cartoon contained Pitt d that attacks on his friends would ication of the North Briton No. 17 in logarth was described as having a ainter. Wilkes made much of Hoat it meant "house-painter." Chure text. For some unknown reason : was mistaken. On 23 April 1763, tacked the administration and re­ ed before a packed court and was /as an elected member from Aylesberty." Hogarth was at the trial and ng print of Wilkes bearing a liberty dy a document labeled North Briton exacted his revenge. He would get e of the former clergyman as a bear cribed him as having a low, short upper lip, crooked jaw, and "eyes most of what he had to work with, in his later years. Hogarth's drawHogarth picture spawned a host of ihows |and misspells) North Briton ler version, obviously copied from igna Carta. A relatively late picture n 1775, and containing no political pose reversed. The eyes are not as hile the teeth are as bad as ever, the n 1779 by John Zoffany is accurate, JOHN WILKES & ISAAC BARRE 3 But if a round sum in the dark you should like Not offensible, now that bargain I'll strike." I Avaunt, vile corrupter, I’ll take no such thing. be true to old England, the Whigs, And the King." that^em^mannpar^n^t.0 those1around the king but not George III directly. The fact that th? rartnnn • £- ack^round exPreSsing dismay about his country would indicate Id by Wllkes or a cIose associate. The two small figures clirnb' F . c jU — 3 Temora and Fingal were a non-too-subtle contemporary reference to Bute s Scottish origins. One James MacPherson had made a career of "translating" Scottish epic poems which he hadI ’discovered." Fingal, an Ancient Epic Poem...translated from the Gaelic Language appeared in 1762. Temora was published the following year, probably only weeks be­ fore the appearance of this cartoon. MacPherson was accused by Samuel Johnson of having fab­ ricated the poems from fragments, and MacPherson never produced the originals. The dispute over North Briton No. 45 also generated other pro-Wilkes materials. A formal, heroic portrait credited to J. Miller, with appropriate accompanying verse from Alexander Pope, appeared on 30 June 1763, six weeks after the Hogarth caricature. Straightforward and unsubtle, it described Wilkes as member of parliament for Aylesbury Bucks" and as being No. 7 Great without Title, beyond fortune bless'd; Rich, ev'n when plunder’d, honour'd, while oppress'd; Lov’d without Youth, & follow'd without Power; At Home, tho' exiled; free, tho' in the Tower. The piece was credited to a publisher named Miller who probably also did the engraving. A much more flattering portrait than Hogarth's, it came to be copied by pro-Wilkes forces with the same enthusiasm with which Wilkes' opponents copied Hogarth's work. A German version shifted the body slightly to the front but faithfully copied the head. Another work published in June 1763 at the peak of the furor over North Briton No. 45 was designed as the frontispiece of a pro-Wilkes pamphlet. Engraved by Bickham, the portrait pur­ ports to show Wilkes in the Tower and bears not the slightest resemblance to the subject, includ­ ing the eyes, which both stare steadfastly forward at the reader. The cavalier attitude of the en­ graver was covered in part by the heavy black grid placed over the picture as a symbol of his imprisonment. This bears the same similarity to real bars as the picture behind does to Wilkes. The top of the print is captioned No. 8 No. 9 * A Wit's a Feather, and a Chief's a Rod; An honest Man's the Noble work of God. enemies of Wilkes. This reversed ddition of Lord Bute to the picture, orruption and bribery against Bute attack on Bute to supplement the ly that the cartoon dates from May . In this print, Bute is shown trying This was taken from Alexander Pope's Essay on Man, and was drawn from Pope's discussion of fame. Pope divided famous men into two classes: wits (meaning wise men in general) and heroes, giving little credit to either. The wise men are compared to feathers, which are flimsy and showy; the heroes, whom he considers the scourges of mankind, to rods. His opinion of honest men is then given, an opinion obviously extended by the artist to cover Wilkes The choice of a selection from An Essay on Man was ironic considering that only five months later, in November 1763, Wilkes would come under attack for publishing an obscene parody of the work entitled An Essay on Woman and, as a result, would be expelled from parliament on 19 January 1764. By this time, Wilkes had fled to Paris and a self-imposed four-year European exile. The cherub in the foreground holds the obligatory liberty cap, while the inscription on the sword ondescend, i his friend, four pen, rite again, eet, ite treat blade reads, "Let Justice hold the Scale." . . , , „ , , D. . Perhaps the most widely-copied pro-Wilkes portrait was> tha painted by Robert Pine. A Dutch/English bilingual version was engraved and published in 1764. The individual whom Reynolds had described in such uncomplimentary terms was, m this portrait, almost handsome. Even the crossed eyes had been downplayed by placing the right eye in shadow. The book m the extreme left of the picture is marked Sydney on Government and refers to the book Discourses No. 10 �field wa ■ headed .. . right side. Tl - ■. . ^SSS&ats^RF ■ No. 11 Nos. 12-16 No. 17 No. 18 Wilkes and Samuel Martin on 16 November 1763, when he reportedly carried the mjury. Wilkes home, possibly saving his life. The duel occurred a ter Martin called Wilkes a cowarc among other slanders, after the publication of North BrttonNo45 During the difficult economic times which Wilkes experienced in the mid-1760s, Cotes handled many of Wilkes financial af­ fairs, at least until Cotes himself went bankrupt. A remarkable reversed copy of the painting, signed by John Philipp, re-reversed all of the print in the picture so that it could still be read. An interesting feature is the cameo in the lower right Almost obscured in the bilingual version, it is clearly shown in this view as is the name "Hampden." This reference to John Hampden, one of the leaders of the opposition to King Char­ les I, suggests a shift from the views of the earlier version of this print. Royalty, apparently, was no longer sacrosanct. Several obvious copies of the head of the Pine painting survive. One is credited to the same "J. Miller" as the print mentioned above. Another copy, credited to E. Bocquet, also credited Pine as the painter of the original, an infrequent practice for engravers of such prints. Wilkes' next period of prominence began with his election as a member of parliament for Middlesex on 28 March 1768, after his return from the European continent. A classical portrait with the inevitable cherub holding a liberty cap and references to John Locke and Algernon Sid­ ney, obviously copied from the Pine portrait, commemorated his election. A broadside illus­ trated with a crude woodcut described the election at Brentford town from a Wilkesite view­ point. Another contained Wilkes' address to the Court of Common Pleas on the day after the election. Wilkes had been convicted of libel for the publication of No. 45 in February 1764. He had not appeared to receive judgment but instead had taken refuge in Paris, and was outlawed by parlia­ ment on 1 November 1764. Much of his time until February 1768 was spent in France and Italy. He surrendered to the outlawry on 29 March 1768, one day after his Middlesex election. The portrait at the top appears based on Miller's 1763 engraving. The usual references were made to Sidney, Lock, Hampden, and the Magna Carta. An engraving showing the court appearance was published in Gentleman's Magazine in May 1768. It was based on the Pine portrait or some copy thereof, but any resemblance to Wilkes was coincidental. Wilkes was committed by Lord Mansfield to the King’s Bench Prison on 27 April. He issued an address to his sympathizers on 5 May, which brought gatherings of his followers to St. George s Field, near the jail. This mob was fired upon by military forces on 10 May, and the event became known as the St. George's Field Massacre. The official responsible was a magistrate of Surrey named Samuel Gilliam, who was tried for murder and, after a long debate, acquitted. Gilliam was apparently a person of limited scholarship, a fact commented upon in the Public verttser or ugust 1768, and reprinted in the Oxford Magazine. The magazine followed up with a cartoon printed about October 1768 entitled "Midas, or the Surrey Justice." Gilliam, with ass s ears, is seated writing a letter which says, "Send me the Ax Re Latin to a Gustis of Pease," WilkpTk,8 vhe n°fte Wh‘Ch r®put®d.ly„had flrst raised questions concerning Gilliam's literacy. lhhkhe mut Ak fMWdlnSlhOpghrU^ and Saying' "Not satisfied with the Murder of the Engcarded conv^f die^tAtd^ the Enghsh Language." A cat lies sleeping under the table on a disthe wall isPa nicmre of a 1e a C°PY °f Fenning’s Spelling Book lies on the table. On weirhlng her viSms a rn I ° 4m8 3 dra™1\sword and a balance, in the scales of which she is "massacre " The XlAnAP k 3 8^e;B°th thlS and the musket lying on the table refer to the "M™n the tittere'errXaTnded deSCribed WUkes only as "the ^at Patriot." The name convictions and on 18 JunTsentenced him t°o twen"^ I"'8 Wi,kes Suil,Y under his Prior pounds, and required posting of bond of lOOOnm?^’T° mOnths lmPr>sonment, fined him 1000 a3tecl)‘s re'easerhis stirred Wilkesto'ano^herPappeal'iohjscons^Uuenls on thesameOdayeMans- ide v . ............................................................................................ likes m . ■ ■ - - Wilkes retun to poli ical irominen ■ i a WJkes. together with .Sejjeam mg Wnkes election m 1768 reflects the fact that 4 February 1769 a. a re; m of near libel -harge= engraving appearing jr. the pro-Wiikes riu-naf Hw- ■ w. : '• a- s wig. and the Duke of Grafton. Both are depicted me in pieces I care not: cut spare, oh spare mv Home who says. They know not what thev do: dence for this either in Law or Equity! I declare government and opponents of Wilkes election, fox, and the Duke of Bedford as a pig. saying. "I Mansfield appears dressed as the Lord Chief Just saying, " If they don't do for him we’ll all have at sion proceedings before Commons while Norton Although V, ilkes was re-elected in three nev declared elected instead, and the returns falsifie Wilkes’ counsel during the disputes of 1763 and liamentary privilege; Glynn and Home manast 1768. Glynn in turn was elected to the other parli in an election marred by rioting and at least one d Brentford who changed his name to Home Tool Tooke. He was the last Anglican clergyman to sit he appears to have used Wilkes and traded on W Home was an extraordinary political organizer i the Bill of Rights. This was a political action con into parliament and to defend him against the got election expenses and 12,000 pounds in general off to a new start. In one election Home was rest bills arranged carriages for transport, and contn The Houston painting dates from 1769. Sign for houses of refreshment. At least four London t Johns.' Horne and Wilkes parted company in 17 tacks on the courts, had been convicted of corner: to allow money to be used for Bingley's support o in protest, left the society and formed a new grou mation, taking the wealthier and more radical V fighting a two-front political war against the po enemies, and against the radicals allied with Hor for sheriff of London, charging him with embezt French jewelers. Other charges included having < givable sin of having had three French servants. The dispute between Horne and Wilkes was Register, dated 1 July 1771. Home, in clerical g throwing books at each other. Home's Speeches c Horne's head. Three documents collectively lab; dlesex have been thrown at Wilkes. Each has or while Wilkes' other foot is on a paper marked H was unsuccessful. Whatever his abilities as an o. sparring. He challenged Wilkes to a duel after 1 Wilkes declined. Wilkes and his new running ma elected as sheriffs of London on 24 July 1771 by a �ISAAC BARRE lished in 1681, in which he upheld the doctrine his also may have been a veiled reference to ey had been expelled from parliament in Octolabeled "Magna Carta, and the letter next beumphrey Cotes was a London wine merchant may have been the second at the duel between 763, when he reportedly carried the injured iccurred after Martin called Wilkes a coward, ■th Briton No. 45. During the difficult economic s, Cotes handled many of Wilkes' financial as­ signed by John Philipp, re-reversed all of the n interesting feature is the cameo in the lower t is clearly shown in this view as is the name e of the leaders of the opposition to King Char­ version of this print. Royalty, apparently, was : painting survive. One is credited to the same er copy, credited to E. Bocquet, also credited iractice for engravers of such prints. th his election as a member of parliament for n the European continent. A classical portrait id references to John Locke and Algernon Sidmmemorated his election. A broadside Uluson at Brentford town from a Wilkesite viewCourt of Common Pleas on the day after the Lica tion of No. 45 in February 1764. He had not :n refuge in Paris, and was outlawed by parlial February 1768 was spent in France and Italy. 58, one day after his Middlesex election. The engraving. The usual references were made to i engraving showing the court appearance was t was based on the Pine portrait or some copy idental. he King's Bench Prison on 27 April. He issued :h brought gatherings of his followers to St. ion by military forces on 10 May, and the event The official responsible was a magistrate of r murder and, after a long debate, acquitted, .arship, a fact commented upon in the Public ■ Oxford Magazine. The magazine followed up i "Midas, or the Surrey Justice." Gilliam, with end me the Ax Re Latin to a Gustis of Pease," ised questions concerning Gilliam's literacy, g, "Not satisfied with the Murder of the EngA cat lies sleeping under the table on a disf Fenning's Spelling Book lies on the table. On d and a balance, in the scales of which she is 1 and the musket lying on the table refer to the Wilkes only as 'Ue great Patriot." The name t lead character in a burletta - a type of farce harden. ie 1768, but held Wilkes guilty under his prior y-two months imprisonment, fined him 1000 ids to guarantee seven years of good behavior eal to his constituents on the same day. Mans- JOHN WILKES & ISAAC BARRE •>» 5 without pi.,." A sevenNo. 19 stylized lion in place of the snake and thistle. P ’ naturaUy. contained a cap of liberty and a Wilkes together with hispolidcal aU^Teri^m gT^^ briyra1pO[Jrait by Richard Houston of ing Wilkes' election in 1768 reflects the fact thm he h-TTh J°hn n °[The notation concern- No. 20 No. 21 denre%n^hiXifhTh yrkn0W T What they do'" and Glynn- who declares, "There is no Precenhf ' dth m LT °fr,EA?nlty! 1 declare 10 be illegal." To the right are members of the government and opponents of Wilkes' election. Included are Lord Holland with the head of a fox, and the Duke of Bedford as a pig, saying, "Let us kill him, or he'll blow our secrets." Lord Mansfield appears dressed as the Lord Chief Justice and with the head and claws of a wolf. He is saying, If they don t do for him, we'll all have at him." Glynn had defended Wilkes in the expul­ sion proceedings before Commons while Norton had served as the prosecutor. Although Wilkes was re-elected in three new elections, his opponent, Colonel Luttrel, was declared elected instead, and the returns falsified by the House of Commons. Glynn had been Wilkes counsel during the disputes of 1763 and had gotten him released on the grounds of par­ liamentary privilege. Glynn and Horne managed Wilkes' election campaign in Middlesex in 1768. Glynn in turn was elected to theother parliamentary seat for Middlesex in December 1768 in an election marred by rioting and at least one death. John Horne was a radical clergyman from Brentford who changed his name to Horne Tooke on acquiring by bequest the estate of a Mr. Tooke. He was the last Anglican clergyman to sit as a member of parliament. A political radical, he appears to have used Wilkes and traded on Wilkes' popularity to gain his own political ends. Horne was an extraordinary political organizer who was behind the Society for the Defence of the Bill of Rights. This was a political action committee formed in February 1769 to get Wilkes into parhament and to defend him against the government. The Society also paid 3000 pounds in election expenses and 12,000 pounds in general debts and provided 1000 pounds to get Wilkes off to a new start. In one election Horne was responsible for distribution of at least 40,000 hand­ bills, arranged carriages for transport, and controlled the crowds of supporters. The Houston painting dates from 1769. Signs based on the painting became popular marks for houses of refreshment. At least four London taverns were so marked and named "The Three Johns." Horne and Wilkes parted company in 1770. A Mr. Bingley, who had printed Wilkes' at­ tacks on the courts, had been convicted of contempt and given a three-year term. Wilkes refused to allow money to be used for Bingley's support on the grounds that he needed it himself. Horne, in protest, left the society and formed a new group known as the Society for Constitutional Infor­ mation, taking the wealthier and more radical Wilkes supporters with him. Wilkes now began fighting a two-front political war against the political conservatives, who were his traditional enemies, and against the radicals allied with Horne as well. Horne opposed Wilkes when he ran for sheriff of London, charging him with embezzling foundling hospital funds and of swindling French jewelers. Other charges included having drunk claret wine while in prison and the unfor­ givable sin of having had three French servants. The dispute between Horne and Wilkes was commemorated in an engraving for the Political Register, dated 1 July 1771. Horne, in clerical garb, and Wilkes, dressed as an aiderman, are throwing books at each other. Horne's Speeches at Mile End, thrown by Wilkes, has just missed Horne's head. Three documents collectively labeled Wilkes's Addresses to the Freeholders of Mid­ dlesex have been thrown at Wilkes. Each has one foot on a book labeled Political Connections, while Wilkes' other foot is on a paper marked Home's Letter. Horne's campaign against Wilkes was unsuccessful. Whatever his abilities as an organizer, he was no match for Wilkes in verbal sparring. He challenged Wilkes to a duel after Wilkes disproved many of his earlier charges. Wilkes declined. Wilkes and his new running mate, a rich merchant named Frederick Bull, were elected as sheriffs of London on 24 July 1771 by a wide margin. The two spent their year's term in No. 26 No. 22 No. 23 �6 No. 24 IS A AC BARRE JOHN WILKES & , U the oenal system and Wilkes at the end of his term proposed an attempt to reduce the abuses otnep ' nishment for many inferior crimes." This would "a revision of those laws which ini P be cted< Wilkes' election was not universally not happen for anoth,ei: f°r/'Tatriotick Meteors" was first printed in the London Magazine for j approved. A cartoon labeled ratrio htical downfall. Three heads, their necks decorated November 1771, which predicted VV £drawn int0 the jaws of a hippopotamus labeled "The enemies in 1772 and 17/4 e No. 25 October 1774, and his new office was commemorated by a ™°P^ “S™ sJm.intaiaed a love o( eo.e,Hie No. 27 Nos. 28-30 scribed as "the late Pope's nephew. ir.TArii , . , Following his term as mayor (he was not eligible to succeed himself) Wilkes concentrated on his parliamentary duties. He remained a member of parliament from Middlesex until 1790 when he did not seek re-election. As a supporter of the Rockingham whigs and later of William Pitt the younger, Wilkes remained a reformer but achieved a measure of respectability which he had not previously enjoyed. Even George III, who had spent many of the earlier years trying to block his efforts to achieve office, was reconciled with Wilkes. Wilkes' term as Lord Mayor coincided with the early events of the American Revolution, and in April 1775, Wilkes presented to the King a remonstrance in favor of the American colonies. Wilkes acquitted himself well on this occasion, and George III confessed that he had never known so well-bred a Lord Mayor. Wilkes had been long estranged from his wife, Mary Mead, and he shared his later years with their daughter Polly, who never married. Polly performed the duties of "lady mayoress" during Wilkes' term as Lord Mayor, her continental education helping to make her the perfect hostess. The last oil portrait of Wilkes, painted by John Zoffany in 1799, shows Wilkes seated looking up at Polly. This was the painting from which most of the later prints of Wilkes were copied. An engraving by Freeman, printed in 1804, left the pose unchanged but made Wilkes look consider­ ably younger than in the painting. Another undated picture shows Wilkes looking forward and is apparently a reversal based on the Zoffany portrait. Another view, published on 17 June 1782 by C. Bretherton, shows an aging, toothless Wilkes dressed in what appears to be the cloak of a co onel of militia. He had been similarly attired in the Zoffany portrait and in a caricature printed on the occasion of his death in 1797. f. ? fiS laaSt Yearn he attemPted repeatedly to find a country home on the Isle of Wight. He fm,r+Ln Und a,Sma11 pr,operty overlooking the sea which he called his "villakin." He secured a j .i d'^’d^r e^Se aRd ?Pent at ^ast.two months a year during the summer there until his Nos. 31-36 vent ana was ouriea at Grosvenor Chapel. ovenhTve^.ToJeofthlr KUreS °f ^s published both in England and on the continent Included in the exhibition arem h n° dlsJ:ern^le relation to the portraits already mentioned. Magna Carta theme and two forXexa“Ple® of work by the prolific J. Miller, two more with the in 1769. He had been elected to that nf?rU1*S’ T°ne “ French shows Wilkes as a London aiderman ent resemblance to the subject. Another6JanuaO'- The head is flattering and bears little apparother view of Wilkes Theonlvide if ■' aPParently also French, bears little resemblance to any and the ubiquitous Magna^ are ‘he name in the title, the hairstyle with the progress of Wilkes' career' ?i°nS deal with incidents not directly involved mures career. One of these was entitled "The Times," reflecting the title of JOHN \ Hogarth's famous cartoon of 176 an actual event which had taken i his distorted appearance and de Brewer states, "Physical afflict! again a characteristic of fools, w himself, like the court fool, as a s gifted with the acute perception poraries actually referred to W masques, complete with motley larnite [Wilkes] had two rivals. C as the second personage], and a guise, the other half in the Scotti the cartoon. The totals on the tv loser had been declared the wim ing of bribes and irregular judic fleeted the numerous petitions v appears on the left side of the ve Isaac Barre was a much less smaller group of prints exists. B. Wolfe in his arms as a surgeon at found in the McClintock Collec occasion was the crisis in the No against the corruption of the go Wilkesite movement of a deca< property. The objections to high corrupt parliament caused the j was a proposal which called for i by Commons. This was Barre's fied by the presence of copies c with the Commission of Accor larger portrait of Barre, publisf Accounts bill. The third Barre item in the Lord," recommending a relation that Barre had served under the Lord Shelburne, who had bee: known in later years as Barre's based on the contents of the k which were not kept due to his land from October 1766 to Augi tary of State for the Southern E This would probably date the k The collapse of the North n in which Barre appears, usually fied only by the context of the Political Mirror, or an Exhibitic the numerous political periodic by demons. Lord Bute, attired i: he has been riding. Barrd is th inscribed "Bill for the Examina been Enormous & Shameful.” 1 the Army budget and affirming out some three years earlier. 1 background and saying, "Yorn identification is uncertain, the shaped head which characters The fall of the North minis �4 .A C BARRE d Wilkes at the end of his term proposed nt for many inferior crimes." This would ed, Wilkes' election was not universally :irst printed in the London Magazine for 1 nfall. Three heads, their necks decorated the jaws of a hippopotamus labeled "The he outgoing Lord Mayor, and a bull, repwith Wilkes. Resting on the gown lying staves. at remained to plague his numerous enelayor of London but was blocked by his :d by a majority of the voters. He finally his new office was commemorated by a inning another election in which he and arliament as a member for Middlesex in maintained a love of entertainment. His oably not in the manner depicted in one >. It was noted that "the food was much s." There was dancing until 3 A.M. and a ding Boswell and Prince Pallavinci, de­ succeed himself) Wilkes concentrated on liament from Middlesex until 1790 when igham whigs and later of William Pitt the iasure of respectability which he had not my of the earlier years trying to block his Wilkes' term as Lord Mayor coincided 1 in April 1775, Wilkes presented to the s. Wilkes acquitted himself well on this lown so well-bred a Lord Mayor. Wilkes ind he shared his later years with their the duties of "lady mayoress" during helping to make her the perfect hostess, in 1799, shows Wilkes seated looking up : later prints of Wilkes were copied. An changed but made Wilkes look considerure shows Wilkes looking forward and is ither view, published on 17 June 1782 by ed in what appears to be the cloak of a iffany portrait and in a caricature printed i country home on the Isle of Wight. He ch he called his "villakin." He secured a fear during the summer there until his o town houses in London. The print apith on 26 December 1797. He died insol- :d both in England and on the continent tion to the portraits already mentioned, y the prolific J. Miller, two more with the nch shows Wilkes as a London aiderman le head is flattering and bears little apparo French, bears little resemblance to any cs are the name in the title, the hair style deal with incidents not directly involved ititled "The Times," reflecting the title of JOHN WILKES & ISAAC BARRE 7 “nTtualUent0wMchhad taVe^place onTnecembS 1769 aTaS and.pUIrPort,ed his distorted appearance and delighted in plavine the role of tk as<?ue i?LlncolnfWllkes”s^d Brewer states, "Physical afflicting was tra^X^ X'self CJkeatCheerco t f f?°1S' Was tO claim hirnse " He certainly saw aiftpd wi?h th^rXrt f 1 ar a Sp(ecial*y hcensed critic and, to his followers at least, he seemed nn^ri^ roff fP/10urHten attributed t0 the simpleton, madman, or oddity. Contem­ poraries actually referred to Wilkes as a political jester. He became a regular character at masques, complete with motley and erratic behaviour to match. This so-called political Bed­ lamite [Wilkes] had two rivals. One appeared as a squinting Aiderman, [with Wilkes as himself as the second personage], and a third dressed as 'The Times', with half of his dress in Wilkite guise, t e o her half in the Scottish manner." The last was supposed to have been the model for the cartoon. The totals on the two arms indicate the results of the recent election in which the loser had been declared the winner over Wilkes. The items on the figure's right side were a listmg of bribes and irregular judicial actions taken by the group in power. Those on the left re­ flected the numerous petitions which had been submitted on behalf of Wilkes. The numeral 45 appears on the left side of the vest and as the winning number on the lottery ticket. Isaac Barre was a much less prominent political figure than Wilkes and a correspondingly smaller group of prints exists. Barrd is shown in West's painting "The Death of Wolfe" holding Wolfe in his arms as a surgeon attends to the fatally wounded general. T\vo other prints are to be found in the McClintock Collection. One appeared in the London Magazine for May 1780. The occasion was the crisis in the North ministry which peaked in early 1780. A popular resentment against the corruption of the government arose towards the end of 1779 which resembled the Wilkesite movement of a decade before, but included many men of great respectability and property. The objections to high taxes, excessive power in the hands of the king, and a venal and corrupt parliament caused the parliamentary opposition to join the cause. Barry's contribution was a proposal which called for a commission to examine the public accounts, which was passed by Commons. This was Barre's major contribution to British politics. Just as Wilkes was identi­ fied by the presence of copies of the Magna Carta in his pictures, Barr^ came to be associated with the Commission of Accounts. While the 1780 picture has no political commentary, the larger portrait of Barre, published in 1787, shows Barr6 holding a copy of the Commission of Accounts bill. The third Band item in the McClintock Collection is an undated letter, addressed to "My Lord," recommending a relation, Lieutenant Isaac Phipps, for consideration. The letter indicates that Barre had served under the addressee in North America. This indicates that the letter was to Lord Shelburne, who had been Band's commander in the Quebec campaign and was wellknown in later years as Barre's political patron. An approximate date can also be determined, based on the contents of the letter. Lord Bristol is noted as having made promises to Phipps which were not kept due to his resignation from office. Bristol served as Lord Lieutenant of Ire­ land from October 1766 to August 1767, when he resigned. Shelburne was then serving as Secre­ tary of State for the Southern Department, a position which he would hold until October 1768. This would probably date the letter in the fall of 1767. The collapse of the North ministry in 1782 was the occasion for a flurry of political cartoons in which Barre appears, usually in the role of supporting actor, and sometimes he can be identi­ fied only by the context of the cartoon or the resemblance of a caricature to his portrait. "The Political Mirror, or an Exhibition of Ministers for May 1782" was probably published in one of the numerous political periodicals. Members of the North ministry are falling into a pit, clutched by demons. Lord Bute, attired in Scottish dress, is about to fall from the ac ' o a wi c on w om he has been riding. Band is the fifth figure from the right in the Picture, holding a document inscribed "Bill for the Examination of Accounts" and declaring Your Army Expenditures have been Enormous & Shameful." This refers to a speech made by Barre on 26 April 1782 attacking the Army budget and affirming his position as a watchdog o the treasury which he had staked out some three years earlier. This print also appears to include Wilkes standing in the center background and saying, "Your tax on Women Servants fills our Streets with Whores. While identification is uncertain, the figure seems to have the distinctive hair style and pecuharlyShaPTehehfeandoTflie^ort^mhiisflywas^e'^ccasion for another somewhat cluttered cartoon by No. 37 & ■ No. 38 No. 39 No. 40 No. 41 �8 JOHN ..... occaston, the tne nbejsoHh this WILKES & ISAAC BARRE JO HN W down aR ^h m No. -C K «S.X\fngh"HX "“his "john Wta SS " °P^° the viewer's left recognizable by the crossed eyes. The person next to Wilkes on the iewer s‘flgh^ Lofd Shelburne. While Gillray took some liberties with the appe“! No. 44 No. 43 Ince of his subjects in this cartoon, the shorter of the two individuals standing behind Shelburne appears to be Barrh. An engraving of Barn* published by C. Bretherton on 17 June 1782 is a com­ panion piece to the engraving of Wilkes which was published on the same day. Like the picture of Wilkes, it is an unflattering caricature. The new ministry was headed by Lord Rockingham, who died on 1 July 1782. Since Shelburne had been in charge of colonial affairs, he had been pursuing peace with the American colonies. Fox, on the other hand, had become secretary of state for foreign affairs and was in charge of ending the war with France. Since the two had conflicting views of how best to end the war and Fox had powerful political ambitions, disputes were inevitable. When Rockingham died, Shelburne was appointed by George III to head the government and Fox resigned. James Gillray was not a friend of Shelburne, as is demonstrated in the cartoon "Jove in his Chair" pub­ lished on 11 September 1782. Shelburne in a triumphal car is drawn by two decrepit asses bear­ ing the faces of John Dunning (Lord Ashburton), an opponent of North and a member of both the Rockingham and Shelburne cabinets, and General Henry Conway, a long-time enemy of North and his friends. The rear footman is William Pitt the younger, the chancellor of the exchequer in the new ministry. In the front of the parade as a running footman is Barre wearing an unhappy expression. In actuality Barrt* was slowly advancing his political career. He had served as trea­ surer of the navy under Rockingham, and he became paymaster-general under Shelburne. But any prospects of further advancement were cut off shortly thereafter when Barre became com­ pletely blind. WILKES, I Among the legacies of the Am commemorate those who presun generals, American political figun categorization and whose influen pantheon of the champions of libe England are more obscure. Includ the city of Wilkes-Barre was nam< There is ample evidence that Americans. At least one other city tury England's most controversi; name being given to a city in Verr This may be explained by Barre's glanders moved to commemorate gland, but they were also disposec from the French threat. Pinning down exactly what V dence is an extremely difficult ta England, his political career was i political turmoil surrounding the his career was in decline by the ti: Barre close political allies. Both ' sional appearance on the same sic convenience than a demonstratio Wilkes was a political symbo nents, and Wilkes' skills as a dem, Wilkes' role in George Ill's Engla the time. George III has never r viewed with the same lack of en Emperor Nero. In his own way, trained to succeed his grandfathe but thirteen years of age. He w; widely read but who had only lir became his tutor and his mother' a conviction that British politics v the country by becoming chief e> good and great Prince born in a f freedom, and glory’, even though During his career, George ti grandfather on the throne, he iss ticed what he preached. He was who bore him fifteen children. TI produced an illegitimate child. C Gainesborough because he disap quiet evenings at home to elabor larly astronomy, and amassed a f terized as the first Victorian and dullness. It was not until after th admiration of the English people �WILKES & IS A A C BARRE led "Banco to the Knave" and published on 12 April 1782. On ; old and new ministries surround a gaming table. Lord North in ble placed his cards down saying, "It's all over.” To the viewer's 3-1806), who at that moment was in the opposition and who was y's cartoons by a fox's head, saying, "Gentlemen the Bank is j at the same hour." No less than twenty-two members of the iting, "Huzza." This group includes John Wilkes seated at the lizable by the crossed eyes. The person next to Wilkes on the I Shelburne. While Gillray took some liberties with the appearn, the shorter of the two individuals standing behind Shelburne g of Barre published by C. Brethertonon 17 June 1782 is a comWilkes which was published on the same day. Like the picture ricature. ded by Lord Rockingham, who died on 1 July 1782. Since colonial affairs, he had been pursuing peace with the American 1, had become secretary’ of state for foreign affairs and was in ince. Since the two had conflicting Hews of how best to end the ical ambitions, disputes were inevitable. When Rockingham iy George IH to head the government and Fox resigned. James true, as is demonstrated in the cartoon "Jove in his Chair” pubdburne in a triumphal car is drawn by two decrepit asses bear­ ed Ashburton), an opponent of North and a member of both the nets, and General Henry Conway, a long-time enemy’ of North i is William Pitt the younger, the chancellor of the exchequer in the parade as a running footman is Barre wearing an unhappy is slowly advancing his political career. He had served as treatiam, and he became paymaster-general under Shelburne. But ment were cut off shortly thereafter when Barre became com- JOHN WILKES & ISAAC BARRE 9 WILKES, BARRE, AND REVOLUTION comm" mom?ee thSe wh^ p^s^H^m^Americln Menende ^T*™11036. na]m ,es cXToriza^tto eriC T P?Utical fi&ures- and some, like the ubiquitous Benjam^Franklimwh^defy Whose “c r!nCe encomPassed a wide range of fields. Also included in the E , , c a™Plons of liberty are individuals whose contributions to the separation from England are more obscure. Included in this group are the two English political figures for whom the city of Wilkes-Barre was named, John Wilkes and Isaac Barr^. There is ample evidence that both Wilkes and Barrd enjoyed the respect of revolutionary Americans. At least one other city, Wilkesboro, North Carolina, was named for one of 18th-cen­ tury England s most controversial political figures. Barre enjoyed even more popularity, his name being given to a city in Vermont, two towns in Massachusetts, and a village in New York. This may be explained by Barre's involvement in the Battle of Quebec. Not only were New En­ glanders moved to commemorate his somewhat limited activities as a political dissenter in En­ gland, but they were also disposed to recognize an individual who had helped free New England from the French threat. Pinning down exactly what Wilkes and Barre did which contributed to American indepen­ dence is an extremely difficult task. While Barrd was a member of the House of Commons in England, his political career was relatively uninspired. Even though Wilkes was at the center of political turmoil surrounding the political struggle in England in the late 1760s and early 1770s, his career was in decline by the time that the American Revolution began. Nor were Wilkes and Barre close political allies. Both were products of the English political system and their occa­ sional appearance on the same side of an issue was more a case of happenstance or a marriage of convenience than a demonstration of a strong alliance against privilege or political corruption. Wilkes was a political symbol. The accidents of history, the ineptitude of his political oppo­ nents, and Wilkes' skills as a demagogue brought him to a position of prominence. To understand Wilkes' role in George Ill's England, one must first examine the state of politics in the country at the time. George III has never received a particularly good press in the United States, being viewed with the same lack of enthusiasm as a medieval monk would view the memory of the Emperor Nero. In his own way, however, George was a remarkable individual. He had been trained to succeed his grandfather as king after the death of his father in 1751 when George was but thirteen years of age. He was seventeen when Lord Bute, a Scottish nobleman who was widely read but who had only limited experience with the rough and tumble of British politics, became his tutor and his mother's political advisor. Bute gave George a strong sense of morality, a conviction that British politics was rotten to the core, and the belief that only George could save the country by becoming chief executive in fact as well as in name. As George would write, "No good and great Prince born in a free country will ever despair of restoring his country to virtue, freedom and glory, even though he mounts the Throne in the most corrupted of times. During his career, George tried to set an example for his subjects. When he replaced his grandfather on the throne, he issued royal proclamations against vice and immorality and prac­ ticed what he preached. He was loyal to his wife, Princess Charlotte of Mecklenberg-Strehtz, who bore him fifteen children. There were no royal mistresses and no evidence that George ever produced an illegitimate child. On one occasion, the King refused to sit for a portrait by Thomas dullness It was not until after the American Revolution that his personal qualities attracted the admiration of the English people. - �10 JOHN JOHN WILKES & IS tomed to rule without interfe , George became king, he appointed Bute as one of the for most of the PrevI0“s ^had political ambitions and hoped to displace the Whig ministers or two secretaries of state. B d chief whig leaders, William Pitt and Newcasto become the P°wer bJ> d th ^h masterful politician and the most skilled «»= go™™™-' i* °bj Unfortunately, this was easier said than done. England in 1762 was not a representative deU 1 rather was ruled by a small oligarchy. Scotland was represented by forty-five members of the House of Commons. Out of a population of about one and one-half million these forty-five seats were elected by a total of 3963 voters. The common Englishman had little faith in the government and his faith lessened when Bute imposed, a tax on cider to balance the budget. The population of London made a hero of Pitt and attacked Bute s carnage in the streets, fright­ ening Bute into resigning from the government in April 1763. There was no suitable alternative. George Grenville was followed in July 1765 by the Marquis of Rockingham, the former wanting too much personal power, the latter being unable to exercise what he had. In July 1766, George tried bringing back William Pitt to rouse the country. However, Pitt was not the consummate politician of a few years previously. He accepted a peerage, weakening his political position, then became a recluse, leaving the cabinet members to fight for power among themselves. In November 1768, he retired from the government, leaving the Duke of Grafton, his second-incommand as the unquestioned leader of the government. Unfortunately, Grafton preferred his mistress and horses to running a government. It was not until 1770, when Lord North became first lord of the treasury, that some measure of stability was achieved. North remained in office for twelve years. A seasoned politician uncommitted to any faction in the increasingly frag­ mented English political arena, he became dependent upon the King for guidance and support, which benefited neither party. The results of George Ill's early political activities thus were a period of instability which created both political and social turmoil in England and contributed to the coming of the American Revolution. JOHN WILKES Wilkes was a product of this turmoil. The son of a well-to-do distiller, Wilkes received a good education, including; time at the University of Leyden and travelling in the Rhineland. At the behest of his father Wilkes married Mary Mead, the daughter of a wealthy London grocer. The mnthpF Pir0V1hhlm rth r11 eState m A7IesburY with an income of 700 pounds a year. His XannrX wf^°f °T° P°Unds' H°Wever' WUkes' Personal habits met with the able income but BE— a seParation was arranged, leaving Wilkes with a comfort- ambassador to the Ottoman hi? M* appointmeni either as Wilkes spread the blame around^ fe t tKtt had WaS forthcom^ a"d blamed Lord Bute and he beean hU I ltt had not done enough for him, but he primarily Bute's foreign policy. The attack was F u p°htlcal Polemicist in 1762 with an attack on novelist and journalist, who defended bX" by^°bias Sm°Hett (1721-1771), a surgeon turned Lord Temple, Wilkes now began an inH-Bv “ publlcat,on called the True Briton. Encouraged by number of which appeared on 5 lune 17r?CTiin^nt Pubbcat>on called the North Briton, the first J me iAiZ. 1 he journal fit well in London's political environ- ment. The city had fourteen newspapers, four of whi and a continual flood of political pamphlets. Most of diatribes. As Lord North would comment, "Libels 1 writing, printing, and reading of our time."' Even in ti his mark. His savage attacks on Bute and his associate taste, even by 18th-century' British journalistic standa fought a duel over one of his charges, and capped his < No. 45 on 23 April 1763. In this he accused the King of ing the recent (and unpopular) peace treaty between "honorable to my crown and beneficial to my people The North Briton was published anonymously bu rant for seditious libel. The legality of such a warrant into a popular hero overnight. Lord Temple, as lord-lit by the King to cancel Wilkes' militia commission. V, prisoned in the Tower; he was released on grounds i The experience did nothing to chasten Wilkes, who d< of the secretaries of state, to a duel. This was prevent! August while Wilkes was in France. Egremont's sue Earl of Sandwich, who with Wilkes had been a mem Francis, whose nightly orgies on the site of the forme of the Hell-Fire Club. However, in the British politics interfere with political advantage. Wilkes returned t ber 1763 published North Briton No. 46, resuming h mediately revealed a poem entitled "An Essay on W parently had been written by Wilkes' dead frienc Canterbury. It appears to have been updated with ti printers' depositions it had been printed by Wilkes' < ber, only three days after the appearance of the new. House of Lords attack the "Essay" as an obscene « was) and a breach of privilege; Commons resolved t lege. Wilkes was seriously wounded in a duel on 1 secretary of state who slandered Wilkes, but Wilke by issuing a reprint of the entire North Briton. Then h to Paris. He carried on a running battle in absentia pelled from the former and convicted and outlawed When Rockingham came to power in 1765, Wi obtaining a pardon and position or pension, but he v ber 1766, but he would not deal with Chatham (Pisatisfaction from Grafton. Wilkes appeared yet a th ment unsuccessfully in London, then secured a se tempestuous time in London. The winter had been was frozen over. There had been considerable econ don had opened a subscription for the relief of the risen sharply in the new year. A number of Industrie weavers, coal-heavers, hatters and tailors. In shod ernment tendencies was well underway when Wil with the government made him a popular figure ar of celebration and rioting. According to the Annual the rabble was very tumultuous; somi Wilkes having put out lights, the mob pa west, obliging everybody to illuminate < as did not do it immediately. They den Bute and many other gentlemen and streets of both cities, London and Westr Wilkes' election caused great concern within 1 between those who wished to bring Wilkes to a �;.4AC BAR RE tate of virtue created great political turmoil lanted German princes who had been conv The so-called Whigs had become accuscastle for example, having held high office came'king, he appointed Bute as one of the nd hoped to displace the Whig ministers or >f Whi° leaders, William Pitt and Newcasst masterful politician and the most skilled leorge now felt in a position to achieve his gland in 1762 was not a representative def. Scotland was represented by forty-five on of about one and one-half million, these The common Englishman had little faith in posed a tax on cider to balance the budget, acked Bute's carriage in the streets, frightril 1763. There was no suitable alternative, arquis of Rockingham, the former wanting ixercise what he had. In July 1766, George f. However, Pitt was not the consummate peerage, weakening his political position, 5 to fight for power among themselves. In aving the Duke of Grafton, his second-inlent. Unfortunately Grafton preferred his not until 1770, when Lord North became ty was achieved. North remained in office d to any faction in the increasingly fragt upon the King for guidance and support, : Ill’s early political activities thus were a social turmoil in England and contributed well-to-do distiller, Wilkes received a good :n and travelling in the Rhineland. At the daughter of a wealthy London grocer. The vith an income of 700 pounds a year. His ever, Wilkes' personal habits met with the arranged, leaving Wilkes with a comfortth his style of living and his political ambiigh sheriff of Buckinghamshire. The same rwick-upon-Tweed, as he was unable to tation of voters. By an arrangement with ons from Aylesbury in 1757. The two conthe seat in the general election of 1761. stablishment. He supported Pitt in parlia>le to establish the Bucks militia, being apfor his loyalty by appointment either as 3 Quebec. Neither was forthcoming and not done enough for him, but he primarily teal polemicist in 1762 with an attack on tas mollett (1721-1771), a surgeon turned on called the Ihre Briton. Encouraged by 'ubhcation called the North Briton, the first 1 ht well m London's political environ- JOHN WILKES & ISAAC BARRE 11 wnting, pri t g, and reading ot our tune. Even in this environment Wilkes was able to make “venbvTK t 0’ A “ ° n .lls 'e accused the King of lying in his address to parliament describ­ ing the recent (and unpopular) peace treaty between England and France in February 1763 as "honorable to my crown and beneficial to my people." The North Briton was published anonymously but Wilkes was arrested under a general war­ rant tor seditious libel. The legality of such a warrant was questionable and its use made Wilkes into a popu ar hero overnight. Lord Temple, as lord-lieutenant of Buckinghamshire, was ordered by the King to cancel W ilkes militia commission. Wilkes' papers were seized, and he was im­ prisoned in the Tower, he was released on grounds of parliamentary privilege on 6 May 1763. The experience did nothing to chasten Wilkes, who determined to challenge Lord Egremont, one of the secretaries of state, to a duel. This was prevented by Egremont's death of natural causes in August while Wilkes was in France. Egremont's successor in office was Wilkes' old friend, the Earl of Sandwich, who with Wilkes had been a member of the group known as the Monks of St. Francis, whose nightly orgies on the site of the former Medmenham Abbey earned them the title of the Hell-Fire Club. However, in the British politics of the age, friendship was never allowed to interfere with political advantage. Wilkes returned to England in November and on 12 Novem­ ber 1763 published North Briton No. 46, resuming his attack on the government. Sandwich im­ mediately revealed a poem entitled "An Essay on Woman.” The poem was anonymous and ap­ parently had been written by Wilkes' dead friend Thomas Potter, son of an archbishop of Canterbury. It appears to have been updated with topical allusions by Wilkes and according to printers’ depositions it had been printed by Wilkes' direction at his private press. On 15 Novem­ ber, only’ three days after the appearance of the new North Briton, Sandwich arranged to have the House of Lords attack the "Essay" as an obscene and impious libel (which it unquestionably was) and a breach of privilege; Commons resolved that seditious libel was not covered by privi­ lege. Wilkes was seriously wounded in a duel on 16 November with Samuel Martin, a British secretary of state who slandered Wilkes, but Wilkes showed his continued willingness to fight hyis-ming a reprint of the entire North Briton. Then his nerve seemed to fail him, and he retreated to Paris. He carried on a running battle in absentia with Commons and the courts; he was ex­ pelled from the former and convicted and outlawed by the latter. When Rockingham came to power in 1765, Wilkes returned briefly to London in hopes of obtaining a pardon and position or pension, but he was disappointed. He returned again in October 1766 but he would not deal with Chatham (Pitt), whom he distrusted, and he received no satisfaction from Grafton. Wilkes appeared yet a third time on 6 February 1768, stood for parlia­ ment unsuccessfully in London, then secured a seat in Middlesex on 28 March 1769. It was a tempestuous time in London. The winter had been exceptionally severe and the Thames River was frozen over. There had been considerable economic distress. The Common Council of Lon­ don had opened a subscription for the relief of the poor, and the price of wheat and bread had risen sharply in the new year. A number of industrial disputes had arisen, particularly among the weavers, coal-heavers, hatters and tailors. In short, a popular movement with strong anti-gov­ ernment tendencies was well underway when Wilkes returned to London. Wilkes controversy withfiie governmentmade him a popular figure and his election in Middlesex was the occasion of celebration and rioting. According to the Annual Register, Bute and many other gentlemen and tradesmen in most of the public streets of both cities, London and Westminster. Wilkes' election caused great concern within the government and Ae cabine‘was divided between those who wished to bring Wilkes to account on the vanous charges accumulated �JOHN WILKES & ISAAC BARRE i n nrpferred moderation. Wilkes again took the initiative and anfollowed, the government tooK P on route t0 prison and taken to a tavern. But he manadequate. Wilkes was seizedby The government was humiliated and the mob, enaged to escape and to commit h tJinuousiy for the next two weeks. On 10 May 1768, the couraged by the lapse 1co*. Massacre Large crowds had unrest culminated with b . estimated to be as high as 40,000. A confrontation ensued bled near the prison,then b b mob shouting, «<wilkes and Libefty between magistrates and h^P „ During the disturbances, at least eleven rioters for ever! and, reporte y, W^ government was further embarrassed, and the Wilkesand innocent bystande first martyrs. As for Wilkes, he arranged pubheation of the SS® for fhe maintenance of order in April, with suitable comments. As George Rud? a Wilkes biographer, stated, "the massacre was made to appear among a wider public not merely as the mishandling of a difficult situation by a weak though well-intentioned administra­ tion, but as an affair deliberately staged by a brutal and tyrannical executive. Wilkes was ultimately fined 1000 pounds and sentenced to twenty-two months of imprison­ ment This was only a minor inconvenience. He was supported by gifts from those who saw him as a symbol of opposition against an unpopular government. This included not only English sup­ porters but colonials. The Sons of Liberty in Boston and the South Carolma colonial assembly sent tokens of their esteem. Wilkes' popularity with the mob and other governmental opponents continued and in early 1769 some of his wealthier supporters, including merchants and mem­ bers of parliament, formed the Society of the Supporters of the Bill of Rights. The organization was set up to pay off Wilkes' outstanding personal debts and political expenses. By April 1770, the group raised and paid out some 20,000 pounds, reducing Wilkes' debts by about two-thirds. This activity showed support for Wilkes from a new quarter. The merchant classes of London disliked the king and considered parliament to be corrupt. Their hostility focused on taxation, which they felt bore primarily on the business classes of the city. They also were supporters of the colonies, who shared their aversion for taxation and who provided much of their commerce. The Wilkesites adopted the colonial slogan of "no taxation without representation" and called for the reform of parliament to provide more equitable representation, more frequent elections, and a broader franchise - though few if any of these advocates were proposing votes for the poor. The concept of a corrupt parliament was strengthened by its reaction to Wilkes' election as a member from Middlesex. Wilkes was refused his seat despite his re-election three times. On the final occasion on 13 April 1769, Wilkes' opponent, a Colonel Luttrell, was seated and the election returns falsified to support this contention. Wilkes' cause was championed by an anonymous !c?own, °"ly as Junius- Junius published letters in the London press between 1767 and 1772, although the use of the pseudonym dated only from January 1769. His attacks on Grafton mid other members of the government were often more savage than those published in the North ■ n Tn 61 °f Junius remains a mystery and candidates include a diverse group of prom™ daY rangmg from. Edmund Burke and Isaac Barrd, to Wilkes himself. CurFrandswasaeuJ LordShelbturne or Sir Philip Francis, the latter being more likely, familiarity in his letter? Th1 ° 3 bureaycratic maze with which Junius demonstrated great Francis was sent to India a cessatlon of the letters of Junius at about the time when evidence S 3 ^g11 80vernment official provides additional circumstantial had been restored b^his friends^11 °n 17 17701 Prison had been beneficial: his finances to the financial rescue of Wilkes hut w n ?0Ijne' Originally the organization was dedicated for the advancement of political'refnrmwn^ °th®rs wanted to use the organization as a device personal support, and Horne andI nd?' T !d Claim to the funds °f the Society for his own group called the Society for ConslimSon Wlt*? Wilkes' leaving the society and forming a bers, still included men of affluence -md ” °J™ation. The Supporters, while reduced in numwould continue to provide for Wilkes' considerable JOHN WILKES & ISAAC B. financial needs for many years. Wilkes would once again be elected to Commons from Middl. mng without opposition and assuming his seat without challenc 1790, when he did not seek re-election. However, by 1774 the fo had shifted to the city of London. A political dispute, between p perceived infringement of the London charter, provided Wilkes ported Lord Mayor Brass Crosby. Elected sheriff of London an. Wilkes gained the further support of the poorer classes by prison reduction in capital offenses which would anticipate these reform Wilkes ran for Lord Mayor but experienced a repetition of his di Commons. Influenced by George III, the aidermen refused to elec he had received a majority of the popular vote. He was again achieved success in his third attempt on 8 October 1774, three ' Commons. His later career was far less dramatic than his beginning. / supported the economic reforms of the Rockingham ministry. H went far beyond them in a proposal which he made in 1776 for t tary seats. This anticipated the major features of a proposal intro, ger seven years later. Throughout the American Revolution, Wi measures, a policy in keeping with the views of his political cons supported efforts to provide better funding for the British Muse for the relief of dissenting ministers and schoolmasters from th. articles of religion then required by English law. His term as Lor< than his efforts to achieve the position. His appointment had be. was to be the last riot inspired by Wilkes. Wilkes reportedly thai him a pardon when he was in Paris since he would have accept. Wilkes, "for not having ruined me." Horace Walpole, son of Eng lifelong observer of England's turbulent politics, gleefully not. Crown, all of the malice of the Scots ... all of the treachery of him " As Lord Mayor and earlier as sheriff, Wilkes worked fc reduced the price of bread, punished tradesmen who gave shoi of prostitutes. He established fixed court fees and went so far animals being sold at market. The most notable event of hi: George III in 1775 on behalf of the American colonies. After es was presented to the King by Wilkes, the first time that the tw been made first that the King would not speak to the Lord Ma this fashion with Wilkes on his most dignified and tactful beh. that Wilkes was a very well-bred Lord Mayor. WILKES AND LIBERTY What was Wilkes' relation to political reform in England revolutionary cause in America? The difficulty m answering tl found in assessing Wilkes as a person. Wilkes, had he been re political loyalty in the early 1760s, might never have beco Briton. Once he became a symbol of dissent, there is ample tion for his own financial and political advantage. Yet, once was often found in the forefront of movements lor parliamentary changes which would not finally be “lueve While one could dismiss his advocacies as taking a position v constituents without changing the system slg^ic“tly?“ * London as sheriff and Lord Mayor suggest hat h1^action.^ than by political expedience. As a member o^arlia the time that he finally achieved a seat in Col“®°“ ' liti cal figures moving toward a reform of the more 1b P that Wilkes' unique position in British politics had vamshe �ISAAC BARRE JOHN WILKES in Wilkes again took the initiative and an,wy charges. In the judicial maneuvers which ular disturbances, but these proved to be in­ to prison and taken to a tavern. But he man[overnment was humiliated and the mob, enfor the next two weeks. On 10 May 1768, the 5 Fields Massacre.” Large crowds had assemi be as high as 40,000. A confrontation ensued > and the mob shouting, "Wilkes and Liberty luring the disturbances, at least eleven rioters ;nt was further embarrassed, and the WilkesAs for Wilkes, he arranged publication of the in April, with suitable comments. As George ras made to appear among a wider public not ' a weak though well-intentioned administraand tyrannical executive." entenced to twenty-two months of imprisons supported by gifts from those who saw him eminent. This included not only English supin and the South Carolina colonial assembly i the mob and other governmental opponents supporters, including merchants and memorters of the Bill of Rights. The organization debts and political expenses. By April 1770, reducing Wilkes' debts by about two-thirds :w quarter. The merchant classes of London corrupt. Their hostility focused on taxation, ses of the city. They also were supporters of i and who provided much of their commerce, taxation without representation" and called ble representation, more frequent elections, advocates were proposing votes for the poor, hened by its reaction to Wilkes’ election as a at despite his re-election three times. On the Colonel Luttrell, was seated and the election i cause was championed by an anonymous ters in the London press between 1767 and f from January 1769. His attacks on Grafton ore savage than those published in the North candidates include a diverse group of promke and Isaac Barre, to Wilkes himself Curhilip Francis, the latter being more likely, maze with which Junius demonstrated great he letters of Junius at about the time when official provides additional circumstantial 70. Prison had been beneficial: his finances lost much of his political support. The deep f tor alienating former supporters - such as ite wntmgs and remarks reduced his influ‘g of the ways with the Supporters of the Bill - Ongmally the organization was dedicated Se organ'zation as a device . X‘° i6 funds Of the Society for his own inn Th % eavin§ dle society and forming a ntimie t Uppo5terS| while reduced in numntmue to provide for Wilkes' considerable & ISAAC BARRE 13 financial needs for many years 1790, when he did not seek re-election HoweveX S had shifted to the city of London. A political dim bln * f r f S, Pu Career perceived infringement of the London charter provided parlament and.the cljY over a brLord ^>'7 rs cio,bY- ei“s reduction in^anitaloffend SUp?°rt °f th<JPoorer classes by prison reform and the advocacy of a Commons, ty.G«Ul. ,ta .ttZESS’S”; he had received a majority of the popular vote. He was again defeated in 1773, but finally achieved success in his third attempt on 8 October 1774, three weeks before he was seated in Commons. 4^3 Career WaS faF less dramatic than his beginning. As a member of parliament, he supported the economic reforms of the Rockingham ministry. However, he took a stand which went tar beyond them in a proposal which he made in 1776 for the redistribution of parliamen­ tary seats. This anticipated the major features of a proposal introduced by William Pitt the younger seven years later. Throughout the American Revolution, Wilkes opposed the government's measures, a policy in keeping with the views of his political constituency in London. In 1777, he supported efforts to provide better funding for the British Museum. In 1779 he supported a bill for the relief of dissenting ministers and schoolmasters from the subscription to the thirty-nine articles of religion then required by English law. His term as Lord Mayor was also more dignified than his efforts to achieve the position. His appointment had been celebrated by rioting, but this was to be the last riot inspired by Wilkes. Wilkes reportedly thanked the king for not having sent him a pardon when he was in Paris since he would have accepted it. "I am obliged to him," said Wilkes, "for not having ruined me." Horace Walpole, son of England's first prime minister and a lifelong observer of England's turbulent politics, gleefully noted, "thus all of the power of the Crown, all of the malice of the Scots ... all of the treachery of his friends, could not demolish him." As Lord Mayor and earlier as sheriff, Wilkes worked for the benefit of the citizens. He reduced the price of bread, punished tradesmen who gave short weight, and cleared the streets of prostitutes. He established fixed court fees and went so far as to look after the treatment of animals being sold at market. The most notable event of his tenure was a petition made to George IH in 1775 on behalf of the American colonies. After extended negotiations, the petition was presented to the King by Wilkes, the first time that the two had met, the stipulation having been made first that the King would not speak to the Lord Mayor. The ritual was played out in this fashion with Wilkes on his most dignified and tactful behavior. The King noted afterwards that Wilkes was a very well-bred Lord Mayor. WILKES AND LIBERTY What was Wilkes' relation to political reform in England and what did he contribute to the revolutionary cause in America? The difficulty in answering these questions lies in the difficulty found in assessing Wilkes as a person. Wilkes, had he been rewarded by the government for his political loyalty in the early 1760s, might never have become the rabblerouser of the North Briton. Once he became a symbol of dissent, there is ample evidence that he exploited this posi­ tion for his own financial and political advantage. Yet, once he achieved office m the 1770s, he was often found in the forefront of movements for political and social reform. He advocated parliamentary changes which would not finally be achieved until many years after his death. While one could dismiss his advocacies as taking a position which he knew would aPPeal hl® constituents without changing the system significantly, the sweeping reforms which he made in London as sheriff and Lord Mayor suggest that his actions were motivated more by sincerity �JOHN WILKES & ISAAC BARRE 14 an American t0 sch°o1- but theY hadl^ problem of governing India.rec_ George hated hhn He feR that nment corp0rations now common in modern American ad- ain's interest, and propose Commons over the issue d P h intervened directly, causing the fall of the Fox-North fmrn 1773 to 1785 was Warren Hastings, a remarkable administrator, who virtually singleSdedly saved the East India Company and extended itsjpower. One of lus chief assistants anda X with great personal ambition and plans was Philip Francis, already mentioned as the most likely person to have been Junius. Hastings worked towards an India wholly controlled by the East India Company, while Francis believed that the government should run the administration in Bengal, the Company should stick to making money, and the rest of India should be left to its own devices. Francis lost the struggle in India and returned to England in 1780 to undermine Hastings' position. When Pitt came to power, the new India Act condemned further expansion in India. Hastings had little choice but to resign and return to England in 1785. Francis, his revenge still incomplete, continued to press his charges and Pitt allowed the impeachment of Hastings in May 1787. As Fox was one of the leaders of the move, Wilkes opposed the action and broke irrevocably with Pitt. This placed him in opposition to Francis as well, another political irony if Francis was in fact Junius. Apparently tiring of the rough and tumble of British politics, Wilkes did not stand in the next election in 1790 but retired from politics. As for the American Revolution, Wilkes' role was even more symbolic. His most important function was before the revolution when his opposition to the established political forces in Eng­ land made him useful to dissident colonials. As Lord Mayor of London and a member of parlia­ ment at the beginning of the American Revolution, his influence was limited. His famous peti­ tion to the King of 10 April 1775 served those commercial interests that opposed the war. His speeches against the war in Commons were now a minor voice in the steadily strengthening opposition to the conflict. ISAAC BARRE more ntdestrian and JOHN WILKES & tained this political attachment until Pitt’s deatl vice-treasurer of Ireland. King George's hatred c for Wilkes, blocked Barre's promotion in the arc Barre was a radical, but, unlike Wilkes, he c expert on financial questions, and took a promil opposed the taxation of the colonies not becausthought it inexpedient. His opposition to the Ai lesser voice among those political giants who opj cal alliances. His political fortunes rose and fell' in his appointment as paymaster colonel in the S' trative position. As in the case of Wilkes, Barre's association bolic. Barre was a less dramatic symbol than V through his service in Quebec. SOU Brewer, John. Party Ideology and Popular Politics at tl George, Mary Dorothy, and Stephens, Frederick. C Department of Prints and Drawings in the B 1935, and 1938. Kronenberger, Louis. The Extraordinary Mr. Wilkes:. Lee, Sidney, and Stephen, Leslie, editors. Dictionary 1885 and 1890. Postgate, Raymond. That Devil Wilkes. New York, 1 Rude George. Wilkes and Liberty: A Social Study of 1 TYevelyan, G.M. History ofEngland. 3rd edition. Lor Walpole, Horace. Memories of the Reign of George III Watson, J. Steven. The Reign of George III, 1760-1811 Weatherly, E.H., editor. Correspondence ofJohn Will aSSOC.lation' While Wilkes was a bawdy individual, Barre was far promotion, feeling that fourteen vea^5 Sm!l ar to that of Wilkes. In 1760, he applied to Pitt for a jected the request ‘ Y WaS Iong enough to wait. Pitt thought differently and re­ cured him a military comm—reliable and consistent political ally. Shelburne seously for the next twenty-nine vearl SeaJ..ln Parliament in 1761. He remained there continuWilkes in retiring from Commons^ T'1? w-u 1 a^ter a disagreement with Shelburne, he joined his first speech in Commons had hehe WaS nOt a friend of ™t, and in the early 1760s received a political appointment from flVn attack uPon that gentleman. Unlike Wilkes, he However, he lost the appointment and ?.(ministr7 worth 4000 pounds a year in early 1763. “pp“'t for wiita - Professor Harold E. Cox is a graduate of Willi ofPhilosophy degrees from the University ofVirg the Department ofHistory of Wilkes College, whe ofEarth and Environmental Sciences. Dr. Cox is u ban railroads and for his weekly column in the W in-progress is a history ofstreet railways in the IV �'a s AC BARRE titing on the demise of the independent iVhigs to school, but they had stolen the ntary conscience. During the 1780s, the ion. Charles James Fox, one of the Whig ge hated him. He felt that the influence rpany was not capable of handling Britnamed initially by parliament. The arnow common in modern American ade violent political struggle generated in ■ds Fox, opposed the bill. This ironically lirectly, causing the fall of the Fox-North inger. Wilkes initially gave Pitt indepenin 1787. The Governor-General of India le administrator, who virtually singles power. One of his chief assistants and a Francis, already mentioned as the most raids an India wholly controlled by the ,'ernment should run the administration and the rest of India should be left to its lined to England in 1780 to undermine dia Act condemned further expansion in to England in 1785. Francis, his revenge allowed the impeachment of Hastings in :, Wilkes opposed the action and broke Francis as well, another political irony if jh and tumble of British politics, Wilkes m politics. ven more symbolic. His most important to the established political forces in Engayor of London and a member of parliainfluence was limited. His famous petircial interests that opposed the war. His inor voice in the steadily strengthening £ ed. Their first meeting was not until 1765 t the publication of the North Briton, they -s was a bawdy individual, Barre was far skills at parliamentary debate and invec■ mihtary and entered the service in 1746. nca and was with Wolfe in the Battle of lo.b®,ca™e his P°Utical patron. Barre's exof Wdkes. In 1760, he applied to Pitt for a ,h to wait. Pitt thought differently and re“tCOn^ent political ally- Shelburne se111 1. He remained there continuS™'? Shelbu™e, he joined ’ nnn °f Pltt’ and “the earlY 1760s Vworthhianngnntleman- Unlike Wilkes' he (noundsayearinear)y1763ded with P'h°- °^ing September because th Pm in February 1764 and main- JOHN WILKES & ISAAC BARRE 15 I S?reSXffr"rUntil Pitt/S death' Pitt restored him to the army and made him for Wilkes Worked Ra 21 g corge s hatred of Barrd, described as second only to his dislike for Wilkes, blocked Barrd s promotion in the army, and he retired in 1773. r+on fine 3 lCa fUt* un ’ke Wilkes, he chose to work within the system. He became an expert on financial questions, and took a prominent position in such matters in parliament. He oppose e axa ion o re co onies not because he considered it unfair but rather because he thought it inexpedient. His opposition to the American Revolution, like that of Wilkes, was a lesser voice among those political giants who opposed the war and was consistent with his politi­ cal alliances His political fortunes rose and fell with those of his patron Shelburne, culminating in his appointment as paymaster colonel in the Shelburne ministry in July 1782, his last administrative position. -^■s mtbe case of Wilkes, Barry's association with the American Revolution was purely sym­ bolic. Barre was a less dramatic symbol than Wilkes, but he had closer ties to the new world through his service in Quebec. i SOURCES Brewer, John. Party Ideology and Popular Politics at the Accession of George III. Cambridge, 1976. George, Mary Dorothy, and Stephens, Frederick. Catalog of Personal and Political Satires Preserved in the Department of Prints and Drawings in the British Museum. Volumes IV, V, and VI. London, 1978, 1935, and 1938. Kronenberger, Louis. The Extraordinary Mr. Wilkes: His Life and Times. Garden City, N.Y., 1974. Lee, Sidney, and Stephen, Leslie, editors. Dictionary of National Biography. Volumes III and LXI. London, 1885 and 1890. Postgate, Raymond. That Devil Wilkes. New York, 1929. Rude George. Wilkes and Liberty: A Social Study of1763 to 1774. Oxford, 1962. Trevelyan, G.M. History of England. 3rd edition. London, 1945. Walpole, Horace. Memories of the Reign of George III. 4 vols., reprinted. Freeport, N.Y., 1970. Watson, J. Steven. The Reign of George III, 1760-1815. Oxford, 1960. W'eatherly, EH.; editor. Correspondence ofJohn Wilkes and Charles Churchill. New York, 1954. ofEarth and Environmental S ■ ■ Wilkes-Barre Sunday Independent; his current work­ ban railroads and for his weekly column in the Wilkes Barresunu y p in-progress is a history of street railways in the Wyoming Valley. i �JOHN WILKES & ISAAC BARRE 16 J O H - ■ ■ INSULTING A KING: THE NAMING OF W 1« r L- 3 ' y o//// m ( )J(7 7 Exhibition No. 2 The history of the naming of Wilkes-Barre began with a King's err. °i A J?™ a v n110 the Connecticut colony to certain lands eluded the Wyoming Valley. At the same time, King Charles II owed a 1 of the English navy, father of William Penn. In 1681 King Charles I charter to the Pennsylvania region in repayment of the debt owed tently, the Pennsylvania and Connecticut charters both covered a prize ley known as Wyoming. The name Wyoming was derived from a corr me, a Delaware Indian name for The Large Plains. The Penns respected the Indians' right of conquest to the land, ar sity to settle the area. By the 1750s, however, soil exhaustion and a trip Connecticut settlers to consider settlement of the Wyoming Valley. The Susquehannah Company was formed in July 1753 in Wind purpose of purchasing the Susquehanna lands, including the Valley of natives, and to explore and organize a settlement in the region. The se by the intervening French and Indian War (1754-1763) which pitted tl allies against the English and the American Colonists. By 1758 the Ii general peace with the English, and Delaware Indians under Chief 1 Wyoming Valley. In September 1762 about 119 Susquehannah Company settlers i the current site of the Wilkes-Barre General Hospital, to plant grai which they returned to Connecticut. They returned to Mill Creek i Teedyuscung had burned to death in his home, near the site of preser Wilkes-Barre. Whether the fire was accidental or deliberate is not kr factions among the Indians. Then, on October 15, 1763, the Mill Cree and twenty settlers were killed by marauding Delawares from outsid' local Indians both fled the Valley. Permanent settlement of the Valley was not encouraged until 17 had long ignored their claim to the region of Pennsylvania had a surv in December 1768. The west side of the river valley was called the A side, including the present Wilkes-Barre area, was called Manor of S settled at Mill Creek in the same month, but as the year closed, the resolved in Hartford, Connecticut, to also resettle the Wyoming Valle The Susquehannah Company sent the "first forty" settlers to the ary 1769. Twice the Connecticut settlers were arrested by the Penns Easton, where they were released on bail, and each time the Connect: Valley. Two hundred additional Connecticut settlers arrived in May 1 Major John Durkee. Fort Durkee was erected near the present loca Center for the Performing Arts. The Susquehannah Company plan was to survey five towns in about five miles square, and to divide the towns among the 240 Con: pany also invited certain malcontented Pennsylvanians called the P caster-Dauphin County area, to join the Wyoming settlement in oppi thority. In the summer of 1769, amid a warring atmosphere betw Connecticut claimants, Major John Durkee made daring preparations create settlements. John Durkee (1728-1782) is an important but unheralded figure i Durkee, born in Windham, Connecticut, moved to Norwich in 1750. �ISAAC BARRE JOHN WILKES & Isaac barre 17 INSULTING A KING: THE NAMING OF WILKES-BARRE of EnSdtave°a chartTtoIhe Conne'?^ *7“ * King’S error-In 1662 Charles 11 eluded the Wyoming Valley. At the saSme K°nTch° “ N°rth America that of the English nav/ father of Wfc £ £S K 11 °weda ar§e debt Admiral Penn charter to the Pennsylvania regionTrepXen of tiS £ h? Penn * tentlv the Pennsylvania and C™ <-• ? 7ment °i the debt owed to Penn s father. InadverEKmXZ “d Connecticut charters both covered a prized Susquehanna River val­ ley known as Wyoming. The name Wyoming was derived from a corruption of Maugh-wau-wame, a Delaware Indian name for The Large Plains. F wau wa dHTIhXrtWhArrPeCRelnhei /■ nNo.2 A ,;z/, .' right of con<luest t0 the land, and there was no felt neces­ sity to settle the area By the 1750s, however, soil exhaustion and a tripling population compelled Connecticut settlers to consider settlement of the Wyoming Valley. The Susquehannah Company was formed in July 1753 in Windham, Connecticut, for the purpose of purchasing the Susquehanna lands, including the Valley of Wyoming, from the Indian natives, and to explore and organize a settlement in the region. The settlement urge was blocked by the intervening French and Indian War ,1754-1763) which pitted the French and their Indian allies against the English and the American Colonists. By 1758 the Iroquois had entered into a general peace with the English, and Delaware Indians under Chief Teedyuscung settled in the Wyoming Valley. In September 1762 about 119 Susquehannah Company settlers arrived at Mill Creek, near the current site of the Wilkes-Barre General Hospital, to plant grain and erect shelters, after which they returned to Connecticut. They returned to Mill Creek in May 1763, shortly after Teedyuscung had burned to death in his home, near the site of present Riverside Drive in South Wilkes-Barre. Whether the fire was accidental or deliberate is not known. There were warring factions among the Indians. Then, on October 15, 1763, the Mill Creek settlement was attacked and twenty settlers were killed by marauding Delawares from outside the area. The settlers and local Indians both fled the Valley. Permanent settlement of the Valley was not encouraged until 1768. The Proprietaries who had long ignored their claim to the region of Pennsylvania had a survey of Wyoming completed in December 1768. The west side of the river valley was called the Manor of Sunbury. The east side, including the present Wilkes-Barre area, was called Manor of Stoke. Pennsylvania lessees settled at Mill Creek in the same month, but as the year closed, the Susquehannah Company resolved in Hartford, Connecticut, to also resettle the Wyoming Valley. The Susquehannah Company sent the "first forty" settlers to the Wyoming Valley in Febru­ ary 1769. Twice the Connecticut settlers were arrested by the Pennsylvania party, and taken to Easton, where they were released on bail, and each time the Connecticut settlers returned to the Valley. Two hundred additional Connecticut settlers arrived in May 1769 under the leadership of Major John Durkee. Fort Durkee was erected near the present location of the Wilkes College Center for the Performing Arts. , rir , The Susquehannah Company plan was to survey five towns m the Wyoming Valley, each about five miles square, and to divide the towns among the 240 Connecticut settlers. The Com­ pany also invited certain malcontented Pennsylvanians called the ’ Paxton Men, from the Lan­ caster-Dauphin County area, to join the Wyoming settlement in opposition to Pennsylvania au­ thority. In the summer of 1769, amid a warring atmosphere between the Pennsylvania and Connecticut claimants, Major John Durkee made daring preparations to survey the region and to i I - �‘Hi,'JOHN WILKES & ISAAC BARRE _ regiment in the hostilities between England and France a commission to &eaC°Xuished manner in the English invasion of Canada and he Was Durkee was to serve m.adistmg March 175g Durmg the f h service in appointed a major for his reg™ E Ush Army who served in Canada m 1758-59. The Durkee met Isaac Barre, ™ 1 born in Dublin, Ireland, m 1726, and educated at Trinity son of a French refugee Barre lawyer. He also had promise as an actor. But College. His parents hoped hejoule1746 Barre was with Barre preferred am^%^"“fataUy shot during the defeat of the French on the Plains of Wolfe of England when Wol September 1759. Barre himself received a severe bullet Abrah dm£^ wound to his right cneex w denied an army prom put blind t0 Barre's commendable years of service, t Engiand and entered Parliament for Chipping Wycombe Pitt Immediatel? after his seating in Parliament, Barre received considerable notice when he ment's treatment of Wilkes. ,, „. . . . The careers of Durkee and Barre were again joined during the Stamp Act controversy. The Stamp Act was introduced in the House of Commons in February 1765. Barre was the single most vocal opponent of the tax in the House; he predicted rebellion in the Colonies. In a famous speech in opposition to the Stamp Act which stunned the House, Barre called the British Colo­ nists in America the "Sons of Liberty," a catch-word which ignited passion in the New England settlements, but did not stay passage of the Stamp Act by Parliament. In America, radical patriotic groups called the Sons of Liberty were organized to oppose the Stamp Act. John Durkee was active in these pre-Revolutionary activities as Norwich was the center of the Sons of Liberty resistance in Connecticut. In September 1765 Durkee organized a gang of five hundred men to capture and harass Jared Ingersoll, the Stamp Act agent for Connect­ icut. The Sons of Liberty grabbed Ingersoll in Wethersfield and took him to Hartford and forced him to resign. Among the Sons of Liberty with Durkee were Captain Zebulon Butler, future leader of the Wyoming forces defeated in the Wyoming Massacre of July 3, 1778, and Benjamin Harvey, who later settled in West Nanticoke and Plymouth. Harvey became an important figure in Wyoming Valley frontier life, and he discovered the lake named for him in 1781. When the Stamp Act was repealed in 1766, the town of Boston had a portrait of Barre hung in Faneuil Hall. The portrait was later destroyed by British troops during the Boston siege of 1775. Durkee only knew John Wilkes by reputation since Wilkes never visited America. The Wilkes name was well-known among the Colonials in the decade before the Stamp Act crisis. He, like Barre, also had a grievance with Pitt after Wilkes was denied the governorship of Que­ bec m 1762. Wilkes was a vocal opponent of the King's ministers. Whether he was a dedicated r’f r “PP0^™1,51 wl,th unusual wit, can be debated. Nevertheless, Wilkes became a Xht I f n h an^.Coloaial na«onal rights and liberties which an oppressive government ConnecSZ H1S conf^™tatlonsi (or antics) were closely followed in Massachusetts and cheer Wilkes' legaf XtorieTovm- pSaZnt peri°dicaU^ meet “ loCal taVemS ‘° land and America for a^ecTde^ AmpT'1118 “ MaF 1769' Wilkes had been the talk of Englarly re-elected to Parliament Ruf w™6 °f ?^rre'S StamP Act speech, Wilkes had been popufrom being seated, which onlv Commons voided the election to prevent Wilkes of the Atlantic. Wilkes wrote tothad ^tional outbursts of support for Wilkes on both sides to have the Stamp Act repealed if Bp ° 1^’ert7 in Boston in March 1769, expressing his wish patriot. In October 1767, he named h;cVier^eVer^eated in Parliament. Durkee was the extreme ment. In July 1868, Andrew Durkee a ,son®arre Durkee, after Durkee's comrade in Parliaew Durkee, a cousin of John Durkee, named his son Wilkes Durkee. JOHN WILKES & I In July 1769, Major John Durkee, President of tl barre for the region near the Connecticut fort in his, five towns authorized by the Susquehannah Com™ (renamed Hanover a year or two later), Pittstown Kingstown in 1770, later Kingston), and Plymouth E the settlement as Wilkesbarre, of course, honored Wilkesbarre assuaged Durkee's patriotic ardor and tion of the King's ministers. But the Connecticut st mother country. Pittstown honored the British Min fered a quart of Connecticut whiskey to his friends ship. He called it Kingstown, after the birthplace of descent, a compliment to the King. Nanticoke Towi renamed it Hanover, a town near York, an area popul Germany. King George III descended from the Hous However, open warfare broke out when Penns} vember 14, 1769, causing the first Yankee-Pennam kee) settlers were driven out of the Valley, and Durk In 1770, Captain Lazarus Stewart and the "Paxton Yankees. There were additional sieges between the the Pennsylvanians were defeated in August 1771 b' ler. The local war was not fully abated until the Yanl force at Rampart Rocks near Harvey's Creek at Chr Durkee was kept in a Philadelphia jail until Aug onment, Durkee did not return to settle in the tow River. He returned to Norwich where his wife, Mar destitute during Durkee's confinement, a reason he Valley only for brief visits in 1773 and 1774. In the years immediately before the Revolutio was under the control of the shareholders of the Sus ated their own government which was neither forrr by the settlers as subject to Pennsylvania authorit townships were organized under a general town i county of Litchfield, Connecticut. During this time Major John Durkee returned participated in major battles of war for the patriotic of Trenton. Durkee crossed the Delaware River wit Day 1776. He became Colonel of the 4th Regiment, ment spent the winter of 1777-78 at Valley Forge. A wound of the right hand which left him permanen service in 1781, and exhaustion from the war years 29, 1782. John Wilkes finally regained a seat from Middle also secured his election as Lord Mayor of London t London and Wilkes protested the government's cot ued his opposition to governmental policies during was still an anti-authoritarian advocate and was inv Wilkes finally left politics in June 1790 when he di years, usually dressed in scarlet, gold lace and rufl and entertaining manner had served to reconcile h ponents. He died on December 26,1797, and was Isaac Barre's political career is no longer cheris in championing the Colonies was probably more 1c ured face, Barre could rattle the House of Commoi sure of his opponents. He was acclaimed in Ament against the Colonies. Nevertheless, Barre manage British politics with more conventional grace and < he held the offices of Adjutant General in the n �KES & ISAAC BARRE JOHN WILKES & ISAAC BARRE 19 ’rx™"e«rse of his service in i759, JFnvli h Army who served in Canada in 1758-59. The irn m Dublin, Ireland, in 1726, and educated at TYmity become a lawyer. He also had promise as an actor. But Pitt blind to Barre's commendable years of service. jndand and entered Parliament for Chipping Wycombe f4°1790 Pitt had resigned from the King's cabinet and sat men, now under Lord Bute, sought to challenge the feared Parliament Barre received considerable notice when he House of Commons. Barre was later awarded the rank of arre reconciled with Pitt in 1764, partly over the govern- Aiere again joined during the Stamp Act controversy. The ise of Commons in February 1765. Barre was the single louse; he predicted rebellion in the Colonies. In a famous which stunned the House, Barre called the British Colo' a catch-word which ignited passion in the New England if the Stamp Act by Parliament. is called the Sons of Liberty were organized to oppose the n these pre-Revolutionary activities as Norwich was the e in Connecticut. In September 1765 Durkee organized a id harass Jared Ingersoll, the Stamp Act agent for Connectirsoll in Wethersfield and took him to Hartford and forced berty with Durkee were Captain Zebulon Butler, future 1 in the Wyoming Massacre of July 3,1778, and Benjamin ticoke and Plymouth. Harvey became an important figure le discovered the lake named for him in 1781. When the iwn of Boston had a portrait of Barre hung in Faneuil Hall, itish troops during the Boston siege of 1775. by reputation since Wilkes never visited America. The ; the Colonials in the decade before the Stamp Act crisis, ith Pitt after Wilkes was denied the governorship of Quenent of the King's ministers. Whether he was a dedicated sual wit, can be debated. Nevertheless, Wilkes became a ral rights and liberties which an oppressive government is (or antics) were closely followed in Massachusetts and al assemblies would periodically meet in local taverns to lament. rsy in England in 1762-1763, Barre supported the rights of lis led the government to temporarily dismiss Barre from e fond of the constitutional rights Wilkes represented than of Wilkes as "a wicked, daring infamous incendiary" and ming Valley in May 1769, Wilkes had been the talk of Eng' bme of Barre's Stamp Act speech, Wilkes had been popu•pHhJv Co.ram°ns voided *e election to prevent Wilkes nf Tdlk°^ 0UnbUrStS of suPPort for Wilkes on both sides ns o 'Liberty in Boston in March 1769, expressing his wish XdsonRe nm,Parliament Durbee was the extreme a^usin nf TabeDurkee’SCOmrade“Parlia' f John Durkee, named his son Wilkes Durkee. the settlement as Wilkesbarre, of course7 honUdS^WUt Wilkesbarre assuaged Durkee's patriotic ardor and vL / ?6S and Jsaac Barre’ The name tion of the King's ministers. BuUheCo^ the Atlantic in the direc­ mother country. Pittstown honored the British Minister Willp^a theif eff£onter7t0 the fered a quart of Connecticut whiskey to h^fdends to hav^?JP b ? ET Dean' °f’ ship. He called it Kingstown, after the birthplace of his wife in RhoTe^dlndTn^therXeTy descent a comphment to the King. Nanticoke Township was given to the "Paxton Boys who renamed it Hanover, a town near York, an area populated by German immigrants from Hanover Germany. King George III descended from the House of Hanover. However open warfare broke out when Pennsylvania troops captured Fort Durkee on No­ vember 14, 1769, causing the first Yankee-Pennamite War (1769-1775). The Connecticut (Yan?ee’Xen ^S YereTdnven of the VaHeY and Durkee among others was jailed in Philadelphia. In 1770, Captain Lazarus Stewart and the "Paxton Boys" retook Fort Durkee on behalf of the Yankees. There were additional sieges between the Pennsylvania and Connecticut forces but the Pennsylvanians were defeated in August 1771 by Yankee forces led by Captain Zebulon Butler. The local war was not fully abated until the Yankees again defeated a Pennsylvania invasion force at Rampart Rocks near Harvey's Creek at Christmas 1775. Durkee was kept in a Philadelphia jail until August 1772, nearly two years. After his impris­ onment, Durkee did not return to settle in the town he named along the upper Susquehanna River. He returned to Norwich where his wife, Martha, and children resided. They were nearly destitute during Durkee's confinement, a reason he was released. He returned to the Wyoming Valley only for brief visits in 1773 and 1774. In the years immediately before the Revolutionary War (1775-1781), the Wyoming Valley was under the control of the shareholders of the Susquehannah Company. The townspeople cre­ ated their own government which was neither formally attached to Connecticut nor recognized by the settlers as subject to Pennsylvania authority. In January 1774, however, the Wyoming townships were organized under a general town name of Westmoreland and attached to the county of Litchfield, Connecticut. During this time Major John Durkee returned to active military duty in Connecticut. He participated in major battles of war for the patriotic cause, including Bunker Hill and the Battle of Trenton. Durkee crossed the Delaware River with General George Washington on Christmas Day 1776. He became Colonel of the 4th Regiment, Connecticut Line, in January 1776. His regi­ ment spent the winter of 1777-78 at Valley Forge. At the Battle of Monmouth, Durkee received a wound of the right hand which left him permanently disabled. He retired from active military service in 1781, and exhaustion from the war years contributed to his death in Norwich on May 29 1782 ' John Wilkes finally regained a seat from Middlesex to Parliament in December 1774, having also secured his election as Lord Mayor of London three months earlier. The Common Council of London and Wilkes protested the government's coercion of the Colonies in 1775, Wilkes comm Wilkes finally left politics in June— years, usually dressed in scarlet, gold lace and raffta , g /rnment his politicai op. Isaac Barre's political career is no longer cherish EMe P f wilkes wjth jjjs disfig- British Army. Ooverno, of Sterling C.stle, Vice- i �JOHN WILKES & ISAAC BARRE 20 JOHN WILKES & ta 1790. die same year as Wilkes. Colonel Barre, who w„ heidess,"died at his home on Stanhope Street, in Mayfair, London, on July 20, 1802. Events in the Wyoming Valley subsequent to the naming of Wilkes-Barre also had a colorful history. During the Revolutionary War, the settlers of Westmoreland organized troops to join Washington. Consequently the settlement was largely defenseless, which contributed to the in­ famous Wyoming Massacre of local settlers and militia by British and Indian forces in July 1778. In response, Washington sent Major General John Sullivan on an expedition which arrived in Wilkes-Barre in June 1779. Sullivan's troops marched into New York State to destroy the Indian bands known as the SixWar Nations. The Revolutionary ended with the surrender of Cornwallis at Yorktown on October 23, 1781. The TYeaty of Peace with England also ended the proprietary control of Pennsylvania by the Penn family. A new state government immediately asked the Congress to resolve the Penn­ sylvania-Connecticut claims in the Wyoming Valley. A court established at TYenton, New Jersey, ruled on October 31, 1782, that Pennsylvania owned the Wyoming Valley but that the claims of Connecticut settlers to land titles should be honored. The Connecticut settlers were not satisfied with the TYenton Decree, and in March 1783 a local delegation went to Connecticut to request the Connecticut General Assembly to petition the Congress for another trial of the Wyoming claims, but Connecticut took no action. A second Yankee-Pennamite War erupted in the Wyoming Valley in October 1783, ending with another Connecticut victory in November 1784. The Pennsylvania General Assembly created Luzerne County in 1786, and the claims of Pennsylvania and Connecticut settlers were eventually set­ tled, in general conformity with the TYenton Decree. SUGGESTED READINGS The best historical source for a study of frontier Wyoming, exhausting and masterful in de­ tail, is O. J. Harvey, A History of Wilkes-Barre (Wilkes-Barre, PA., 1929). Harvey also provides a full treatment of the various spellings and pronunciations of Wilkes-Barre. (The hyphenated Wilkes-Barre came into general use after the 1840s.) Harvey's work contains a large chapter on Wilkes. His chapter on Isaac Barre may be the most extensive history of Barre available any­ where. Other standard local sources are Charles Miner, History of Wyoming (Phil.: J. Crissy, 1845), and Stewart Pearce, Annals ofLuzerne County (Phil.: J. B. Lippincott, 1886). A children's history of the Wyoming Valley may be found in the reference section of local libraries: Louis Frank, The Story of Wyoming (Wilkes-Barre, PA., 1930). For the Valley’s west side, see William Brewster, History of the Certified Tbwnship of Kingston (Kingston, PA., 1930). An article or summary biogra­ phy of Isaac Barre appears in Proceedings of the Wyoming Historical and Geological Society (1900), VI, 113-136. // / <>/7' > | 0. 5. MjO Exhibitio; F. Charles Petrillo is a graduate of Wilkes College, Class of1966, and the Dickinson School ofLa- • He currently serves on the Executive Committee of the Board of Directors of the Wyoming Histonca and Geological Society and he has published several local historical studies in recent years. �A AC BARRE & 1SAAC ! stally blind in 1785, a consequence of his ment. Barre served in the House of Come year as Wilkes. Colonel Barre, who was air, London, on July 20, 1802. aming of Wilkes-Barre also had a colorful f Westmoreland organized troops to join defenseless, which contributed to the int by British and Indian forces in July 1778. llivan on an expedition which arrived in into New York State to destroy the Indian I I ( of Cornwallis at Yorktown on October 23, te proprietary control of Pennsylvania by f asked the Congress to resolve the Penncourt established at Trenton, New Jersey, he Wyoming Valley but that the claims of he Trenton Decree, and in March 1783 a hnnecticut General Assembly to petition but Connecticut took no action. A second ey in October 1783, ending with another rania General Assembly created Luzerne Connecticut settlers were eventually set- BARRe ■ I EKlS ■ LDINGS Vyoming, exhausting and masterful in de-Barre, PA., 1929). Harvey also provides a ations of Wilkes-Barre. (The hyphenated Harvey's work contains a large chapter on extensive history of Barre available anyHistory of Wyoming (Phil.: J. Crissy, 1845), • B. Lippincott, 1886). A children's history section of local libraries: Louis Frank, The Valley's west side, see William Brewster, PA., 1930). An article or summary biogramg Historical and Geological Society (1900), J O1J5 VHLKS ,Ek SQ;< Jr/fa G. S. McClintock I Collection | Exhibition No. 5 �IV I I, K E S & ISA A C BARRE JOHN WILKES & IE u. ... . A. \ r : a . -•, v - - W v '■ ' .■% a. -■ i-'A- ■ ’ ■> Exhibition No. 6 Exhibition N �KES & ISAAC BARRE JOHN WILKES & ISAAC BARRE 23 i i i - lyfeni ber or fcrl iKntcttil fol A vlesb u r \ i = ? i —=== ,g==r-= __ i Exhibition No. 6 ? «< ■ ilcGe.l wrllioi.il■ TiiJe/bcj-e n <1 boi <u u • I1-1 Jiicli.cv.'iiwiicft pl u:u<.ieo<L,ljoiiu ur (.i.'vlu to ■ o;. ■ . LoviLwi'thovLY'tHiil-i. & lelLwtl williom ho. A. At1311(110 , iiui.' '.otfLcL: (ircu, tin. in iiie to'.Vile- fiBBIi ¥ iiSHifiS® / ... .......... ■ ■ Exhibition No. 7 ■ ■" ■ ■ �JOHN WILKES ISAAC BARRE JOHN WILKES & I S A Exhibition No. 11 ��V' I? JOH & ISAAC BARRE JOHN ;-V I L K E $ I ’ ILKES & ISA/ I 26 > hi h Brentford in its G,ory . Or, Wilkes in TRIUMF L JI Mr.a'1 Jal J so 0 mIMM. ■'■F 1 aa*:.'$,i7 @sO jfe. . 0! ■ assBF ao fes»3MM ■< . I <■ WW : - ^3a=s=l zT^N Thorfdiy March the 24th 176S, John Wilket, Efq; frt out for your iervice. I am confciooshow unequal my abilities are, my fidelity u )). accompanied by fevenl others, coach and four, to and integrity (lull in fotne meafure compenCue that deficiency, il I am ers, in in aa jnft p ujeiex, to oner canai-­ honoured with fo near a relation to you. I (hall diicbarge my farvice with Erentford, in the County ol MiJdJefex, offer nimtcii himfelf a candi tcckedthegreateft approbation fpirirand affiduity in which I may have the honour of being pheed. date for th*, c jfu ng Eleclion, where he rec w ,t 1:1----------r ‘ On the Monday following, being the day of Election, John Wilkes, cf nuny ol the Freeholder*, and excepted1 of’’ as a candidate to reprefent that County, when he afterward' made the following Speech. Efq; came into Brentford Town, about eight o’clock, in a coach, drawn In dclctence to the opinion of fame very refpeclable friends, I prefume by fix grey horfes, adorned With blue rbbons, attended by feveral of the ta cI1t mjfelf a candidate for thir. nobfe County of Middlesex, at the nobility, where he was received m a very polite manner by the fherifl of eefa ng general e!eAton,lhe approbation you havehten plea fed on feve­ the County, and 'ozhe great joy of ali the inhabitants, he immediately nl occafjun to exprefsof my conduft, induces me co hope that theaddrefs mounted the Huflings where he continued untill near oneo’clock before I have now the honour of tnikin 4 to you will not be unfavourably re­ the two o.her candidates came. As foon as they arrived into Brentford ceived. 1 he chief merit v, iih you Gentlemen, I know to be a facredlove Butts, the place where the Booth was erected, their horfes was, by demand cf LIBERTY, and of thofe generous principles, which at firft give, and of the populace dripped of their ribbons, which was the fame colour as k*ra finx fccured to this, my native kingdom, the great chatter of Frce- Mr. Wilkes’s, before thev wore fuflered to proceed to the booth. As foon r. I w.ll j ie!d to none of my coun'ry men in this noble zeal, which has ai they came Upon the Huftrngs, there was a fhew of hands which was a.w y; characterized Enghfhmen. I may appeal to my whole conduct, given in favour of Mr. Wilkes and Sir William Proctor, when Mr. Cooks h □ «nd out of Parl'J.nent for the demonflration that fuch principles demanded a poll, which came on immediately, the poll books,r which s. -e d.cpiy noted in my heart, and that I have fleadily purfued the in-was fifteen in number, one f~~ rizh ------i-r—1 *ui for each divifion, were notclofed till K«ir hilf r>,ft part 9i ,J «*ait7 without regard to the powerful enemies I created, fevea when the numbers flood thus. '-r:/"ft dangers in which I muft thence neccffarily be involved; J 293 For John Wilkes, Efq; r ’■ , .V’hc dD:ieiof a Rood fubject. The two important 837 For Wtlliim Cooke, Efq; \ hvj of LIBER IY, refpccting Geieral Warrants and the fei807 For Sir William Beacham Proctor , 7 \', ' ; l'‘r^hap* pl.ee me among thofe who have deferred w«;i <a :.4 by u iMwhunted firmnrft 1 iThe Cryer then demanded filence, when the court broke up for that . c! r .■. a undaunted firmuefj, perfeverar lb... 1. ■ L w„b which vmtAniT r 71 “jd pr“b"Z: «ho next rooming at nine o’clock the (henll opened ------- tha alter which y , nd affection Exhibition No. 15 ,----- cntkaviw toJu^rf ibitUCssmty CiMlyin«t>tbi I blhjl bejlntM/ft* auwII I - Exhibition No. 18 �AC BARRB ilkes in TRIUMPH. e v, zi "j &e grec <n f the »'?::££ o r.etciri--i'-« £so«. <-.-. a « Kj&a wbattbc Booth w»twcsad. fflBrharhs<M?^'4sp»»i lb ffU el the ; ’ «Li£l ->~ 'l£-'z - -.-t u l.-:-'..t v;?.' :.;• ......._• ’--- -L- E — u.. . 'lx- •:' ■_ _ t _ i Ursa ci Mr V.. kc. i£_; V. . -.z i-.jzz.-r. t Mf. Ga'Jjx :2 j r.'_. J - ;.. •_ . -^aiii bu-Jfj Gi4 c.-sL^i. we?s hes t-^K'n (had F--J Jchs. Vk ths, 5; - s Fat %‘u.is GkIe, t; J F :< Sa Wd._3 uc.^L=> F css<i? ■;7 Cjjrer tfe. B kai cc^iBdad fclea®. w!xa we ®sn “>rdLe fsr ^z-Z g.ifeithai mu Eia’acg a u;?.s. o'Ctedi 'b‘ fbsr.9 e&e&ed r?-s *>*4? tea?,, V1Ltlftiiadjrfj L^frir Sj ti.' Cra=^ Mi. Vi �JOHN WILKES & ISA; Engravdforthe-fclait (/e/t’(///ie /> < Exhibition No. 22 �V/LA'55 & '■ \ RE JOHN WILKES & ISAAC BARre 29 I I ^Engrwdfr)- th^JPoliucai,^^. I "-A I - Exhibition No . 21 f ~>W \ ( Exhibition No. 22 �& ISAAC BARRE JOHN WILKES JOH l ■■ \ ) R Gra? : . . . e Right j -• ■'f I KES & ] : of t ‘ tOR op BB At th.- United Requeft of p£ LIBERTY I ^AJ’JtAOJ’-JCJC XT?: J’JJojis E X P L A Exhibition No. 24 R M S. 1. A General Warrant torn to nw 2. A Bunch of broken K-ys, denotia the Ruin of arbitrary Paner. 3. The Tower of London, the Go: wide open, with a Flag bearing the wiv Horfe (the Arms of the illuttnous H:a of }{an-.z'e.r) and Magna Charta, d noting Fit.den: to all loyal Sa j^s ar Friends to the Conjlitution ; the or* Habeas Corpus, under the open Gan imply, that no Briti/’j Sidjcdi can I impri/bned contrary to Lata. 4 and 5, Two Mefi-yers in Moun ing, with a Handkerchief in one Ife lamenting their loll Places ; and in. tl other, a Staff with a GryENind on denoting their Offices# . Exhibition �tc BARRE TJJO/IS �> JOHN 32 WILKES & ISAAC BARRE JOHN WILKES & I I j ' !. -i '■''I J I H I I 1 f1/"' !X • t- v. . I jiaiM/no xfvi-.i. t-«5» T*ait«"J' j>f Chib* !' .rj-er C - 11 ’'I'- I—;r>f r,li. i>Ur <r!. ...-■ < UGIT A' !9I< -a.MMl THE HAIH. i !■! ; , . « ~U1- I tW-. ; TW-^d C/‘I eV ■JEAN 'Vi ILKES^Ac7/^,7 ; Ehi Aiderman de Londrcj, lc 2 .janvier 1760. Exhibition No. 35 i ! H / ) VI ft ffimmi/ ( /umr/ee I'/idt / y.rh/,.. Exhibition �>AA C BA RRE Io. 35 JOHN WILKES & 1SAAC Barre J \ ,4-v 7'■ iI 1 r :? ^MFQJLl AIUTANTUR. ' 'I-FTrn Lo':Q7'Tirki-t. ; “ -'IL-NG0S5LULYR0NIES. ; ^Hckeu / BAXL-PARE. SJ^g---^GDOTTOALFRESCO/ SiducfthtHAT. I two Tabus. -^Alu^e of Qabj £ oi.er Cards- / ^boxoff^eDice.wuh-iliis CO G IT AMORNUiO-I1- EXPLAXATI ONofthe C01OU RSA \\ealliLTvocli.Ai,lI<'w'. Cap of Liberty.'W’liito. }L>t,<kejjiai(rtU,nmtniilenir.tlii.ilt,epBlttf. Tables on Dino, brown. Jo click s. firfl fri in solid aftjttue. Hair.rijJJjt"Side,Saii«lvJeftJBrinni lCoaijrr’lit.Bluediiiu)v,OriUig<-, 1 e ft,( )range;liningjlhie. THE HAIRQu«c & R®rd-wiih ngit-Svte • R0ADT01?BEj®k beltishc^^ the Wai ftco a t.rigln, Plad,left,Blue. J< I H. V ^. taumer •4d / ) f/Wf< an / .C/w':///■ Exhibition No. 37 �JO < H ; i: I �& ISAAC BARRE .Z.'. r:-niir, /~Si £2 ts s> k K R E- bition No. 38 6 Z g �JOE . 36 JOHN WILKES & ISAAC BARRE ;S <1 ■ �4 C BARRE JOHN WILKES & isaacbarre 37 ^7^.5TTY'?‘ j.? I i 5 ! I £ ■ If/ & & - fl 11 ■ ��lkes & ISAAC BARRE JOHN WILKES & ISAAC BARRE 39 ! i r - •* o of ■41^; M ) W'7' y BwB .W 1 1 » 1 - 0® Exhibition No. 30 Exhibition No. 44 �I O II N IV / I. K B S & ISAAC HA R R E 40 22. 23. CHECKLIST OF THE EXHIBITION (All dimensions in inches, height proceeds width. Unless otherwise noted all items are engravings.) 1 1A. IB. 2. Barre, Isaac: DER GENERAL WOLF, c. 1759, Gemahlt von B. West; Gegraben von Carl Guttenberg 9 1/2 x 12 1/2. Barre, Isaac: Wolfe's Tbd in der Schlacht bei Quebeck. n.d., Stahlstich Von F. Randel in Berlin, 14 x 17 3/4. Penciled on back: from J. T. Mitchell Collection. Barre, Isaac: THE DEATH of GENERAL WOLFE, n.d., Painted by B. West Hist. Painter to King of England; Engraved by P. Somebody, 7 1/4x7 5/8. Wilkes, John: John Wilkes Esqr., Drawn from the Life and Etch’d in Aquafortis by Willm Hogarth Publish'd according to Act of Parliament May ye 16. 1763, 20 1/4 x 15 1/4. BM 4050. Wilkes, John: Untitled, n.d., Dent Sculp. 9 1/16 x 5 1/2. BM 4050-1. Wilkes, John: John Wilkes Esqr., n.d., grave d’apres 1'original du Sieur Hogarth a Londres, 111/4x73/4. 2A. 3. 4. Wilkes, John: Untitled, n.d., 7 1/2x4 5/8. 5. Wilkes, John: JOHN WILKS (sic) ESQR., n.d., Hopwood sculp. Attached signature, dated 1775 in pencil: John Wilkes Mayor, 7 1/8 x 4 1/2. 6. Wilkes, John: Untitled, n.d., Political cartoon with captions, 10 1/2 x 12. 7. Wilkes, John: IOHN WILKES, Esqr., Member of Parliament for Aylesbury Bucks, I. Miller del. et sculpt.; Publ: acc: to the Act June 30. 1763, 14 1/2 x 10 1/2. 8. Wilkes, John: IOHN WILKES, Esq., n.d., 6 11/16x4 1/8. Penciled on back: from Mitchell Collection. 9. Wilkes, John: Untitled, Engrav’d by Bickham according to Act of Parliament, June 1763, R. E. Pine Pinx; G. Sibelius Sculps, 10 3/4 x 9 1/8 . 10. Wilkes. John: IOHN WILKES, Esqr.. Late Member of Parliament for Aylesbury, Published according to Act of Parliament, 1764., (Also in Dutch), 14 x 10 1/2. 11. Wilkes, John: John Wilkes Esq., n.d.,Neovingri Academiae Caesareo Franciseere Excud. Aug. Vind.: Cum Gratia et Plivilegio Sac. Caes. Majestatis.: loh Philipp Haid Sculpsit, 19 1/2 x 13 1/2. 12. Wilkes, John: IOHN WILKESEsqr., n.d., J. Miller Sculp., 8 3/16x5 1/4. 13. Wilkes, John. John It ilkesEsqr, n.d.. Engraved by E. Bocquet, From an original picture bv Pine Pub by Sherwood, Neely and Jones, Paternoster Row., 10 x 7. 14 vivn,' !2%N, WILKES‘ ELECTED KNIGHT OF THE SHIRE FOR MIDDLESEX ON THE urii II Ot M?RCH MDCCLXVIII, BY THE FREE VOICE OF THE PEOPLE, n.d., 6 7/8 x 4 3/8. Wlikes in oval, surrounded by Athena and Hercules. 15. Wilkes, John: Brentford in its Glory: Wilkes in TRIUMPH, 1768, Broadside with woodcut, 18 3/4 x 14 1/2. 16. Wilkes John: Part of Mr. Wilkes's Speech to the Court of Common Pleas., n.d., ]. June Sculp, 13 x 8 3/4. Illustration at top with portrait of Wilkes. J 1 17. 1Wdkes, John. John Wilkes Esq; before the Court of King's Bench. From Gent Mag. May 1768.8 1/4 x 7 7/8. l« Wilke ,, Job *'hn l’> .<-• or lheSurn> Justice, 1768, 6 1/2 x 3 15/16. BM 4201. Wilk \ John. ARMSolLIBERJ Y mn/.S7 ,-ll L/i 1: (Letter) 'lb the Gentlemen, Clergy and Freeholders ol th.-County of Middl<-s.-x, from John Wilkes, King's Bench Prison, Saturday, June 18, 176S, 14 3/4 X 8 15/16 UM 4207. Witk<:a John Al, Lerjcant < ,7.i7v; JOHN WIL KES Esq */': The Reed Mr. JOHN HORNE. n.d., Richard -s. John. A iled f... th 1 73/4x4 3/4. BM 48 ' John: YOUR VOL x 7 3/4. Small campaign j 24. Wilke John. PATRIOTIC 25. John: ARMS Cra. ■' ASSERTOR OFBRH 26. Wilkes, John: JOHN Wil h qr. Member for Middles 27. V. ilkes, John: THE BALL A IOHN WILKES. LORD MA 28. Wilkes, John: John Wilke iished by Longman & Co. 29. Wilkes. John: JOHN WILK 30. Wilkes, John: XfVJWUkt 6067. 31. Wilkes, John: The COTTzine, Published by J. Sew 32. Wilkes, John: IOHN WI Mitchell Collection. 33. Wilkes, John: Untitled, n. veto. luv.", 4 1/16x4, m< 34. Wilkes, John: JOHN WIL 35. Wilkes. John: JEAN WIL mounted on paper 11 3/4 36. Wilkes. John: John Wilkes, 37. Wilkes, John and Lord B querade at Lincoln, Deer. 4315. 38. Barre, Isaac: COLONEL 39. Barre. Isaac: THE RIGH Engraver to his Majesty 40. Barre, Isaac: Untitled, n.i ant Isaac Phipps, 9 3/8 x 41. Barre, Isaac and John W Am: 1782, Razo Rezio in BM 5982. 42. Barre, Isaac and John W 118 New Bond Street. 9. 43. Barre, Isaac: JOVE in his Lent by The New York P 44. Barre, Isaac: XII [Colom 3/8. Lent by the William 45. Barre, Isaac: The Royal j Published according to c by the American Antiqu 46. Barre, Isaac: The Right H don, From original Pictu Evans, Engraved by W.T sity of Michigan. 47. Barre, Isaac: Colonel Ba Engraving. (15 5/16 x 13 48. Wilkes, John: John VVi/k, �bl ISAAC BARRE JOHN WILKES & ISAAC BARRE 1771*7 3°4x43KBM4868.e>le/Jr 41 Ministr>' Design'd and Engrav'd for the Political Register, 24. W^eS’Jolm'-P^RIOTICKMETEORS, 1771, 43/4xy ii2.penc[\edonb>ottonv]Wiikes-Bty[4887. ' don, ASSERWR OF BRHISH^^ED^M^'lTGS^lAl^^xg uf BM 4206^" HE EXHIBITION 26’ Es^M^ height proceeds width. 1 items are engravings.) :mahlt von B. West; Gegraben von Carl Guttenberg, .’beck, n.d., Stahlstich Von F. Randel in Berlin, 14 x Uection. ’E, n.d., Painted by B. West Hist. Painter to King of 8.' le Life and Etch'd in Aquafortis by Willm Hogarth, ■e 16.1763,20 1/4 x 15 1/4. BM 4050. x51/2. BM 4050-1. > 1'original du Sieur Hogarth a Londres, 111/4x7 3/4 . Hopwood sculp. Attached signature, dated 1775 in ith captions, 10 1/2 x 12. of Parliament for Aylesbury Bucks, I. Miller del. et 12x101/2. > x 41/8. Penciled on back: from Mitchell Collection. ccording to Act of Parliament, June 1763, R. E. Pine ber of Parliament for Aylesbury, Published according to 01/2. \cademiae Caesareo Franciseere Excud. Aug. Vind.: loh Philipp Haid Sculpsit, 19 1/2 x 13 1/2. ler Sculp., 8 3/16x5 1/4. by E. Bocquet, From an original picture by Pine, Pub w., 10x7. IGHT OF THE SHIRE FOR MIDDLESEX, ON THE FREE VOICE OF THE PEOPLE., n.d., 6 7/8x4 3/8. rules. °f^don & Membr for Middlesex., JOHN GLYN, aprilxvii. mdcclxxv, the right honble OHN WILKES, LORD MAYOR, G.B. Cipriani inv. et del; F. Bartolozzi Sculp 1775, 8 x 7 1/8. 28. IUHaH S'J°hn:^o/ln ™Mes,Esqr., Engrav'd by Freeman from an Original Portrait by Zoffani. Pub­ lished by Longman & Co. November 5, 1804, 6 1/8x3 7/8. Penciled on back: Mitchell Collection. 29. 1y<7.<^eS' WILKES, ESQ., n.d., 4 3/4 x 2 7/8. Penciled on back: from J. T. Mitchell Collection. 30 6067 eS' JOhn: X/^!Wilkesl' JS ff(Sayers), Published 17 June 1782 by C. Bretherton, 81 1/2 x 6. BM " ' 27 31. Wilkes, John: The COTTAGE of the late JOHN WILKES Esqr. in the ISLE of WIGHT, European Maga­ zine, Pubhshed by J. Sewell, Cornhill, April 1, 1798, Engraved by S. Rawle, 5x8 1/4. 32. Wilkes, John: IOHN WILKES Esq., n.d., J. Miller at viv: feet., 5 5/16 x 3 3/4. Penciled on back: Mitchell Collection. 33. Wilkes, John: Untitled, n.d., "Civis erat, qui libera poiset, Verba animi proferre, et vitam impendere vero. luv.", 4 1/16x4, mounted on paper 12 x 9 1/2. Penciled on back of mount: John Wilkes. 34. Wilkes, John: JOHN WILKES Esqr, 1768, 8x43/8, mounted on paper 15x 11. BM4204. 35. Wilkes, John: JEAN WILKES, Ecuyer, Elu Aiderman de Londres, le 2. janvier 1769, 8 1/4X 5 1/4, mounted on paper 11 3/4 x 8 3/4. 36. Wilkes, John: John Wilkes, n.d., No. 37., Franz Heissig Cath. Sculp, et excud. Aug. Vind., 11 5/8 x 7 3/8. 37. Wilkes, John and Lord Bute: The Times, Taken from an Original Character which appear'd at the Mas­ querade at Lincoln, Deer. the21st. 1769, 14 l/8x 10 1/2. Written in ink at bottom: Captain Wilks. BM 4315. 38. Barre, Isaac: COLONEL BARRE, London Mag: May 1780, 8 5/8x5 3/16. 39. Barre, Isaac: THE RIGHT HONORABLE ISAAC BARRE, Painted by C. G. Stuart; John Hall sculpt Engraver to his Majesty 1787, 14 x 10 1/2. Penciled on back: from the James T. Mitchell Collection. 40. Barre, Isaac: Untitled, n.d., Manuscript letter from Isaac Barre to Lord Shelburne regarding Lieuten­ ant Isaac Phipps, 9 3/8 x 7 1/2. 41 Barre Isaac and John Wilkes: The POLITICAL MIRROR, or an EXHIBITION of the MINISTERS for April 1782, Razo Rezio inv. Crunk Fogo sculp, 513/16x9. Lent by the American Antiquarian Society. BM 5982. 42 Barre Isaac and John Wilkes: BANCO to the KNAVE, Pubd. April 12th 1782 by H. Humphrey, No 118 New Bond Street. 9 3/8 x 13. Lent by The New York Public Library. BM 5972. 43.1. Barre, Isaac: JOVE in his chair, Pubd. Septr 11th 1782 by E. D'Achery St. James's Street, 9 x 13 1/8. Lent by The New York Public Library. BM 6032. 44. JMPH., 1768, Broadside with woodcut, 18 3/4 x 14 1/2. lourt of Common Pleas..., n.d., J. June Sculp, 13 x 8 3/4. King's Bench, From Gent. Mag. May 1768, 81/4 x 7 7/8. 6 1/2x315/16. BM 4201. 46. !he Gentlemen, Clergy and Freeholders , rungs Bench Prison, Saturday, June 18,1768, 14 3/4 '. BM 4268. 13 5/8). Lent by the Williai ��f' - 0i Bih ■ • •: ■ < "■:. .1 :■■■ 5.-: <-•?>.—•. ■■; .• Of . i " -S By - ■':. B ‘ ■ < • * : •-• ?3.\? a . 3; I / 7 ;-Si � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1988 June 19 John Wilkes and Isaac Barre: Politics and Controversy in Eighteenth Century Graphics Creator An entity primarily responsible for making the resource B. West Hist William Hogarth Bickham E. Bocquet Freeman S. Rawle C.G. Stuart Harold E.Cox F. Charles Petrillo Annie Bohlin F. Charles Petrillio Date A point or period of time associated with an event in the lifecycle of the resource 1988 June 19 - June 24 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The active poltical lives of John Wilkes and Isaac Barre coincided with the golden age of portraiture perhaps not by coincidence. The exhibition speaks to both the politics of the two men and the illustrations that depicted them. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/7d7e553a172e6e594d4783159c4f338f.pdf 6267ea9cc976beedf9441909c12829c8 PDF Text Text Post-lndustrial Expression Waa; ln ::,.81:, Y:'aii::t i$;rt '.:/. q' iiti X* &;irt:irl.5i :r:;t::;!:ttr tli':*& .,,,,::riit'aiiit iiritt: -itr ::. Barbara Nessim, Hand Memory,1987, computer print-out, 30 x24 inches. SordoniArt Gallery Wilkes College October 2-30, 1988 �POST.IN DUSTRIAL EXPRESSION We seem to be living in an age which can identify itself only "Post-Modern", Neo-Expresin terms of previous ages sionist, Neo-Romantic, and- here, "Post-lndustrial." These encompassing, but often vague rubrics are perhaps symptomatic of a pace of change in our culture which exceeds our ability to define exactly what we are about at any present moment. "Post-lndustrial Expression", thetitle of this exhibition does have a particular meaning within the context of its source, the 28th annual conference of the Association for General and Liberal Studies, which is meeting this month at Wilkes College. The conference theme, "Liberal Learning in a Post-lndustrial Culture," focuses on the impact of electronic technology and information systems upon the character and philosophy of American education. The exhibition provides avisual expression of thattechnology in the field of art and tries to demonstrate something of the variety of ways in which artists have creatively adapted it to their individual expressive ends. One of our specific aims is to show how an originally non-artistic technology can be humanized and aestheticized in the hands of enterprising artists. Another is to point out that these adaptations of current technology are, indeed, the works of artists, not scientists or professional programmers (although some of these artists have become able programmers in the course of their work). The exhibition is very selective because of the modest space and resources at our disposal, and so we have chosen to focus upon two of the most influential technologies in our culture: the computer and the video camera, which in their relatively non-mechanical, electronic, and ephemeral nature can be called "post-industrial." These devices manipulate information rather than solid materials; they process numbers, language, and images. Thus, it is only logical that they should serve the needs of musicians, poets, and painters as well as statisticians, sociologists, and journalists. The technical achievements of our civilization have aroused both pride and foreboding. Many a college freshman enters school suffering from "computer anxiety", while some of his professors envision a society soon to be enslaved by its electronic systems. But, sooner or later, we seem to get our creations under control, and almost any new technology that takes hold, however inimical to aesthetic expression it may seem, eventually presents a challenge and an opportunity to artists. ln the 15th century the printing press threatened to bring an end to the hand-printed manuscript. ln fact, over the next two centuries, it virtually did so, and the beautifully painted illuminations of manuscripts were replaced by the crude, mechanical images of printed books. There were, nevertheless, artists such as Durer and Rembrandt who adopted the new technology and raised engraving and etching to a high art. ln the 19th century another technological breakhrough, photography, all but took over the recording lunction of painting, but painters responded by developing more deeply its expressive and decorative functions. While not every new technical innovation has such an impact on art, it is clear that some art forms have been decisively altered and others virtually ended by new inventions. �Whether the computer and the video camera will have such an effect is unforeseeable at this comparatively early stage in their development, but there is a growing impression thal they will, at least, become permanent alternatives for the artist. Joan Truckenbrod, Sy//ogism, black and white photograph, 16x20inches. The computer is capable of literally COMPUTER ART assisting artists in the development of their ideas and the manipulation of their images. Essentially, it offers the artist two possibilities: a tool for accelerating or simplifying the rendering of a concept, which previously would have been done manually; and a device with inherent aesthetic properties in the way it works and in lhe nature of the images it produces. lt is this latter possibility, primarily, which justifies the term "computer art." Some artists, particularly designers and architects, use the computer mostly as a time-saving tool. The works in this exhibition are by artists with whom the computer "collaborates" to one degree or another in the creative process. The artist locates or designs programs which complement his or her own artistic processes. The operations of a computer, like the unfolding etfects of brushstrokes and color being applied to canvas, can help drive the evolution of an artist's idea. This creative interaction of artist and medium is - nothing new; the computer merely phrases it in different terms. A number of artists have come to use the computer as virtually their sole medium, composing on their monitors and producing finished works on their printers and plotters. They would not think of disguising pixels any more than some sculptors would polish down chisel marks. These artistic "hackers" are a minority; most computer artists integrate the technology with more traditional means. ldeas may be developed on the computer but manually produced with paint or �ink, or conversely, freehand images may be fed into the computer for augmentation and reproduction. Among the artists represented here, Mark M/son is probably the one most devoted to f ull use of the unique characteristics of the medium. The regular patterns and permutations in serial arrangements, the vivid color schemes, and the shifting perspectives, all mapped out entirely on the monitor and rendered by a plotter, give his work their computeristic, yet elegant appearance. He exploits the machine of our day as the Bauhaus artists exploited the machines of the 1920's. John Pearson, a professor of art at Oberlin College, has been using the computer since 1973, longer than most of the artists assembled here, and his style, like Wilson's, seems well suited to the medium. His fondness of De Stijl art and his interest in mathematics (e.9., the Golden Section and Fibonacci numbers) could easily have led him to a severely ce- rebral kind of art, with the computer playing a dominating role. But Pearson has maintained a certain distance from the techhnology by rendering his paintings and reliefs in the traditional manner. The computer solves complex relationships and suggests new avenues for exploration, but it does not produce the final art object. Artists working in geometric and serialistic styles may thus find the computer a natural ally, yet feel the need to retain a human louch. Darcy Gerbarg and Harry Holland preceded their computer works with paintings and prints which explored complex perspectives and spatial relationships. Holland is the acting director of the Art and Technology Center at Carnegie Mellon University. ln recent years, he has adopted the computer as both a perspective aid and a formulator of dense structures. Gerbarg, who directs the graduate computer art program at the School of Visual Arts in New York, continues her color and space explorations on the computeri but transfers her results to traditional paint and printmaking media so that the f inal art object has a more sumptuous physical richness. The large scale of much of her work expands the typically miniaturistic quality of computer images into the realm of the environmental, especially in her murals. Computer art is by no means dominated by geometric styles, however. Barbara Nessim, who also teaches at the School of Visual Arts, enters hand-drawn representational images into the computer by way of a digitized pad, after which they can be processed in a variety of ways. Nessim compares the artist's computer with the writer's word processor; where the writer moves words, the artist moves images. An image can be worked on and altered, but the original stored in the memory can be brought back whenever the artist wants it. Although the technology, in this case, is little more than a mute tool, it does offer the artist an incentive to experiment more freely. lsaac Victor Kerlow, director of the Computer Graphics Programs at Pratt lnstitute, has found the media of printmaking and computerization to be unusually compatible. Both can create multilpe impressions and both may use composite matrices superimposed plates in printmaking, integrated numerical plots in a computer. Kerlow begins with a - hand-drawn sketch which he then develops on the computer. The resulting image is transferred to the printermaker's plate �either photographically or by direct inscribing with a plotter. ln either case, the image is enriched in the final printing through the inherent properties of the printmaker's ink and papers. Kerlow's blend of old and new technologies is expressively paralleled in his frequent combination of archaic and modern imagery. The capability of the computer to call up images from its memory in any order and in many permutations encourages artists to exploit the old surrealist device of juxtaposition. Bll/ Davison, a widely exhibited afiist from Vermont, juxtaposes illusion (in the form of photographic images) with "anti-illusionistic areas of senuous and physical presence" in order to "establish a'field' that reveals choices and ambiguities, a double dialogue that compares both media and their contents." Joan Truckenbrod also uses the computer to process photographic information in a highly personal way. The im- ages from a video camera are fed into the computer by a video digitizer. Using both commerical software and her own programs, she then interweaves the recorded material into a composite photographic image which she shoots directly off the monitor screen with a 35mm camera. Truckenbrod's medium is wellsuited to her expressive concerns. A faculty member at the School of the Art lnstitute of Chicago, she has stated that her work "confronts the fragmentary effects of the differing roles we all assume in our lives - as parents, siblings, lovers, spouses, workers, etc. . . . The interacting roles of figures, masks and screens in my images represent different roles and their undulating positions in our lives . . . lmages can be layered and synthesized in a manner that parallels the fabric of contemporary life." Something of the same composite effect is achieved by Charlotte Brown,bul in a style that is predominantly abstract, John Pearson , Fresnel Proposal #38, 1986, Acrylic on rag board,22x22x3 inches. �yet not geometric. She combines fragments of patterns which are either transcribed to a single surface or pieced to- gether as collages. Her motifs suggest distant or exotic places, times, and styles. Brown was originally an abstract expressionist painter, but turned to the 3M color processor after an auto accident left her unable to work with a brush. Yet her work reveals that her new medium is more than a simple tool to execute ideas that she might have previously painted or assembled. The computer has opened new terrain for her to explore just as it has for the other artists in this exhibition. Once more, the interaction of artist and medium becomes part of the creative process. It is clear from the work of these nine artists that computer art is already highly diverse in style and highly flexible in technique. lt may look as geometric as Pearson's, as organic as Brown's, or as illusionistic as Truckenbrod's. lt may be as densely computerized as Wilson's or as richly handmade as Gerbarg's. The "gee whiz" phase of computer image-making those digital Mona Lisas, for example is long gone - for the serious artist. - Darcy Gerbqrg, Q Space, 1983, serigraph, 49 x 40 inches. VIDEO ART as a medium, seems less radical - Video, than the computer, for it is an extension of an already accepted art form, film. What sets it apart is its accessibility to �both artist and viewer. Compared to film, video is cheap, quick, and spontaneous. lt is within the means and capability of a vast number of people. lt can even free the frustated or latent imaginations of thousands of persons who lack traditional "talent." The video artists represented in this exhibi- tion approach their medium in two distinct ways: as linear "documentation" (i.e. a straight narrative flow);-and as montage (i.e. the juxtaposition or superimposition of fragments). ln every case, they provide, like the underground film movement, an antidote to any potential "tyranny by television." John Will, a painter and printmaker teaching at the University of Calgary is the documentarist of the group, but it is only in style that his pieces are documentaries. Will is a parodist who observes with dead aim and deadpan humor the follies and fantasies of contemporary society. The title subject of his An Albuquerque Car is a true relic of the industrial age examined by a post-industrial artist. Jumpin'Jesus is an amusing footnote to one of television's blockbusters, the Winter Olympics (made in collaboration with Gordon Trick). Satire and social commentary of a more aggressive sort are found in the movement known as Scratch Video. Clips from commercial videotapes are assembled into a montage which resembles rapid channel switching but which replaces randomness with deliberate juxtaposition. Two basic types of theme are preferred: the political and social satire; and the deconstructive commentary on the medium itself and our sense of artistic structure. The pieces shown here as Ihe Greatesf Hits of Scratch Video, and never more than a few minutes in length, represent the work of a group of British video artists: George Barber (who produced the tape), John Maybury Jeffrey Hinton,lhe Duvet Brothers, Km Flitcroft and Sandra Goldbacher, and John Scarlett Dayis. Barber notes that Scratch is often edited in "advertising time" rather than "art time," with rapid-fire , rap-style images assaulting the viewer. Like collage, Scratch trades in "found materials." One Scratch artist has said, "Why film when you can get it off TV? Those guys (TV cameramen) can be relied upon to get it in focus, nicely framed we simply show them where they went wrong," Connie Coleman, a video and computer artist from Philadelphia, also uses juxtaposed fragments to undermine our complacencies and assumptions, Her Ba llet Digitale is a kind of post-industial Ballet Mechanique, Fernand Leger's classic 1924 avantgarde film which captured the syncopations of an industrial world in the then new montage style. Coleman's piece is, thus, "post-industrial" in both theme and medium, and a fitting climax to our brief survey of post-industrial expression. - All the artists in this show can be considered pioneers (sev- eral of them have even written books and articles on their techniques). Computer art and video art are still young, even though they have been around for more than two decades. John Pearson has worked with computers since 1973, yet now he is often working without them, returning instead to wholly traditional methods. Does this mean he has ex- hausted their potential, grown tired of them, or set himself new goals? Pearson speaks of his "love/hate relationship" �with the computer: his respect for its ability to reveal new paths to pursue, but his mistrust of its allure; his delight in the time itsaves, but his frustration in one's inabilityto absorb the overload it produces (thus canceling out the saved time). Ultimately, for him, the computer is but a tool of logic, recalling sculptor Sol Lewitt's remark that "art jumps to conclusions that logic cannot reach." Jumps of imagination, leaps of faith, flights of fancy these have always been the way of art. lt is really a question of the relationship between artist and medium: which is master and which is servant? - The computer and the video camera are unquestionably versitile artistic media, accessible to any artist who wishes to learn a new technique and to any person for whom these me- dia may open the door to artistic expression. lt is impossible to predict how widely and dqeply they will penetrate the artistic world. Undoubtedly, many artists willcontinue to get along nicely without "state of the technology" art. Yet, even this modest exhibition reveals something of the great potential of these art forms in the hands of resourceful artists. Bronzecasting, invented sometime in the fifth millenium B.C., was technically much more complex than stonecarving, yet both media stillflourish today. Computers and video will probably likewise extend the technical options available to artists without making older techniques obsolete. ln the final analysis, the deeper meaning and beauty of art lie in the human thought and feeling which the artist shapes into form. The means may change, but the ends rarely do. *,,,,", sterling Associate Professor of Art Artists Represented: George Barber Charlotte Brown Connie Coleman BillDavison Duvet Brothers John Scarlett Davis Kim Flitcroft Darcy Gerbarg Sandra Golbacher Jeffrey Hinton Harry Holland lsaac Victor Kerlow John Maybury Barbara Nessim John Pearson Joan Truckenbrod John Will MarkWilson Sordoni Art Gallery Staff: Judith H. O'Toole, Director Jean C. Adams, Assistant Director Kimberly Andrews, Secretary � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1988 October 2 Post-Industrial Expression Creator An entity primarily responsible for making the resource George Barber Charlotte Brown Connie Coleman Bill Davison Duvet Brothers John Scarlett Davis Kim Fliteroft Darcy Gerbarge Sandra Golbacher Jeffrey Hinton Harry Holland Isaac Victor Kerlow John Maybury Barbra Nessim John Pearson John Truckenbrod John Will Mark Wilson William Sterling Date A point or period of time associated with an event in the lifecycle of the resource 1988 October 2 - October 30 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Post-Industrial Expression serves to provide a visual expression of that technology in the field of art and tries to demonstrate something of the variety of ways in which artists have creatively adapted it to their individual expressive ends. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/285fc3873a709112f23b6499d1024bfd.pdf 6b529e9ee966a000727bde5523c89beb PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1988 December 18 Flora and Fauna: The C.B. Reif Collection of Natural History Prints Creator An entity primarily responsible for making the resource Leohart Fuchs Bail Besler jacob Hoefnagel Eleazar Ablin Mark Catesly A.J. Rosel Christopher Trew J.F. Kiefhaber LeSueur Pinixit J.J. Ernst Francois LeValiant Pierre Joseph Redoute Prideaux John Selby Antoine L. Poitease J. Gould and W.Hart Christion andJ.C. Sepp J. Gouldand H.C. Richter J. Wolf and H.C. Richter J. Wolf and J.Smith John and Elizabeth Gould A.F. Lydon J.J. Audubon Robert E.Ogren Date A point or period of time associated with an event in the lifecycle of the resource 1988 December 18 - 1989 January 22 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Regarded as a teaching aid, the C.B. Reif Collection was formerly used during Biology lectures. Although the fundamental purpose of the collection was to teach natural history, the prints are also of interest to art historians and general historians. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/4777e6f7443fab71d3d7ea23bd16deba.pdf 28323e68d4cf150f311e08f47931beae PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 January 29 Director's Choice Creator An entity primarily responsible for making the resource Earl W. Lehman Barry Perlus Robet Stark Kurt Warnk Date A point or period of time associated with an event in the lifecycle of the resource 1989 January 29 - February 26 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Director's Choice is a collection of work curated by the current circa 1989 director of the gallery. Featured in this exhibition are artists such as Earl W. Lehman, Barry Perlus, Robet Stark, and Kurt Warnk. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/d6866d41e7b91603c6ae676e4ea2d53b.pdf 31f79a3e3e7608a00885894387f56b32 PDF Text Text �������������������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 April 9 Artists of the 80s: Selected Works from The Maslow Collection Creator An entity primarily responsible for making the resource John Beerman Peter Bommels Steven Campbell Robert Cumming Joseph DiGiorgo Hamish Fulton Jack Goldstein Tracy Grayson Edward Henderson Robert Jessup Barbara Kasten Scott Kelley Rex Lau Katherine Porter Sandy Skoglund James Biederman Larry Brown Howard Buchwald Willy Heeks Mel Kendrick Karla Knight Gary Lang Susan Laufer Melissa Meyer Frank Owen Jurgen Partenheimer David Reed Anthony Sorce Andrew Spence Tad Wiley Thornton Willis Terry Winters Jerry Zeniuk Judith O'Toole Date A point or period of time associated with an event in the lifecycle of the resource 1989 April 9 - May 7 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition concentrates on the broad range of media and style by thirty-five artists both figurative and non-figurative. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/92618e86bcc8c7415f114d336bd51db1.pdf e4ecb5924252154bb12074d040e3ce68 PDF Text Text :• "i FIVE MINUTES IN MEXICO PHOTOGRAPHS BY MARK COHEN SORD GA TR647 C8F5 1989 ��FIVE MINUTES IN MEXICO �FIVE MINUTES IN MEXICO: PHOTOGRAPHS BY MARK COHEN Sordoni Art Gallery Wilkes College May 14 through June 11,1989 The Philip and Muriel Berman Museum of Art Ursinus College March 15 through April 16,1990 An exhibition organized by the Sordoni Art Gallery, Wilkes College and supported in part by a grant from the Pennsylvania Council on the Arts ESJEARilYLiBRARV WILKES UNIVERSITY WILKES-BARRE, PA �■VsCHlVES Introduction and Acknowledge! ,■ Copyright © 1989 by the Sordoni Art Gallery, Wilkes College, Wilkes-Barre, Pennsylvania, 18766. All rights reserved. ISBN 0-942945-00-X 1 H One thousand copies of this catalog were printed on Mead Signature 100 pound papers. 7 he text is set in Schoolbook. lype composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin, It is a rare pleasure for a college gallery to organize am exhibition of works by a member of its own academic commu reputation and contribution to his field has international rar This is the case with the current exhibition, Five Minutes Photographs by Mark Cohen. Cohen is well known for his black-and-white phot Wilkes-Barre and Scranton, their environs and inhabita tradition of the street photographer who captures the “decisv first made prominent as an art form by’ Henri Cartier-Bres uses a 35 mm camera and prefers the immediacy of the silvei more subtle platinum print. His one man show in 1973 at th( Modem Art led to others at the International Museum of P (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen mad Mexico: the brevity and intensity of those trips is reflected i this exhibition. Like the photographs of Pennsylvania, 1 pictures are fragments of everyday life, charged with Coh sometimes confrontational energy. But a gentle side of the p is also revealed in pictures of amazing textural richness, compassion. I thank Mark Cohen for collaborating in this participation in every phase of the exhibition, from i photographs to making suggestions for the catalog 1 contributed to its success. Annie Bohlin assisted in the sele< for the exhibition, designed the catalog, and determined tl the photographs reproduced here. Her sensitivity' to Cohe careful overseeing of the catalog production resulted in a p. quality. Marvin Heiferman, who has followed Cohen s cs 70s, provided an insightful essay which gives us an inform on Cohen’s Mexican photographs. The staff of the Zabris New York helped in the early planning stages and made th available to us for loan. The Pennsylvania Council on the matching funding in support of the catalog and travellin 92-- �Introduction and Acknowledgements Copyright - 1089 by the Sordoni Art Gallery, Wilkes College. Wilkes-Barre, Pennsylvania. 18766. All rights reserved. ISBN 0-042945-00-X Ont thousand copies of this catalog were printed on Mead Signature 100 pound papers. The text is set in Schoolbook. Type composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin. It is a rare pleasure for a college gallery to organize and mount an exhibition of works by a member of its own academic community whose reputation and contribution to his field has international ramifications. This is the case with the current exhibition, Five Minutes in Mexico: Photographs by Mark Cohen. Cohen is well known for his black-and-white photographs of Wilkes-Barre and Scranton, their environs and inhabitants. In the tradition of the street photographer who captures the “decisive moment” first made prominent as an art form by Henri Cartier-Bresson, Cohen uses a 35 mm camera and prefers the immediacy of the silver print to the more subtle platinum print. His one man show in 1973 at the Museum of Modern Art led to others at the International Museum of Photography (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen made pictures in Mexico: the brevity and intensity of those trips is reflected in the title of this exhibition. Like the photographs of Pennsylvania, the Mexican pictures are fragments of everyday life, charged with Cohen’s uneasy, sometimes confrontational energy. But a gentle side of the photographer is also revealed in pictures of amazing textural richness, humor, and compassion. I thank Mark Cohen for collaborating in this project. His participation in every phase of the exhibition, from selecting the photographs to making suggestions for the catalog format, have contributed to its success. Annie Bohlin assisted in the selection of works for the exhibition, designed the catalog, and determined the sequence of the photographs reproduced here. Her sensitivity to Cohen’s work and careful overseeing of the catalog production resulted in a product of high quality. Marvin Heiferman, who has followed Cohen’s career since the 70s, provided an insightful essay which gives us an informed perspective on Cohen’s Mexican photographs. The staff of the Zabriskie Gallery in New York helped in the early planning stages and made the photographs available to us for loan. The Pennsylvania Council on the Arts provided matching funding in support of the catalog and travelling exhibition. 92-1838iN - �^produce this exhibition. Judith H. O’Toole Director A DIFFERENT tri ��It’s hard to believe that only one hundred and fifty years have passed since the announcement of the invention of photography; but what is even more remarkable is that in that very short period of time (the photographic era being only the tip of the iceberg of recorded development), we’ve become so image-dependent. We read less, but always want to see more. So, more and more magazines are published yearly and in each magazine more and more ad pages are sold and more and more images are reproduced. And we continue looking, like addicts, as the tally of pictures mount. We watch movies in theaters and then drive home through landscapes polka-dotted with satellite dishes, only to shove more movies into the VCR. Not only have we become mesmerized by photography in all of its incarnations, we now actually need the camera’s particular brand of vision, truth, and history. If we live so furiously in a hectic present that we forget the past, photography helps us remember. If our lives seem repetitive and small-time, photography reminds us of the larger world. And if that bigger world starts to move too fast, photography stops it. Photography even shows you how to be someone else, when you don’t like who you are. When life seems totally out of control, when there are riots downtown or plane crashes at the airport or outrageous instances of child abuse in the house next door, photography calms us as it transmits the bad news and the chaos, all within four neat, straight borders. And, most of all, photography gives us a second crack at reality. So, no wonder we enjoy pictures — taking them, being in them, look­ ing at them. Photographs encourage us to remember what has been seen and to study what we never could have noticed: the expression on a face turned away from us, but toward the camera; the full outline of the leg that only attracted our attention from the corner of an eye; the shape of a raindrop unintelligible in the commotion of a storm, but frozen on film. We can now see that the history of the medium has gone full circle. A century and a half ago, we invented photography. And now, the influence of the photographic image is so pervasive that it is becoming obvious that it is the pictures that are defining us. □ Nowhere in the history of photography is this symbiosis between image and identity clearer than in the startlingly ideosyncratic work of Mark Cohen. We like to think of photographers as explorers, visionaries in search of the exotic, documentarians in search of some universal �I and towns of eastern Pennsylvania, Cohen has assembled a unique travelogue of his own Kafkaesque reality, a remarkable body of work that is built upon split-second impulses and reactions. Because his work is so instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. Cohen’s photographs are challenging. There’s always just enough of an edge of visual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen’s American photographs, people tend to look either uncomfortable or, in one way or another, seductive; they are often angry at the camera’s (and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between Cohen s mind and his nerve endings. His guard is down, he’s relaxed. So, what we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. Look at the faces of the Mexicans depicted as they look back into the camera. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �^^homgrXg for two decades in Wilkes-Barre and in the cities d towns of eastern Pennsylvania, Cohen has assembled a unique Svelo-ue of his own Kafkaesque reality, a remarkable body of work -hat is built upon snlit-second impulses and reactions. Because his work is .o instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. _ Cohen’s photographs are challenging. There s always just enough of an edge ofvisual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen's American photographs, people tend to look either uncomfortable or. in one way or another, seductive; they are often angry at the camera’s < and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how’ far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between o en s mind and his nerve endings. His guard is down, he’s relaxed. So, v at we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. ook at the faces of the Mexicans depicted as they look back into e cameia. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �1981 MEXICO CITY ���.. TO RTA5 . Xv.-.y • ���- �a t I ■ �����‘>'fii I.-: -:, : <■' :p I /7 '=- I Ji ���A ��r® —4 -r I SifttaSH BtfillB H I iW^lS§l!S^igiisgli:i^aSii§S -!;lI fi KIIliiiMliHiffl ■; ■ Wil! I =Wi'=iSii»i'!=l^E:g^s=2fsS:=i=i 1 =| if t iijii:iSW120 ifB=.S:=s!g e g I'• aB:;s:a.!Sg’'g.!:^S~i^r?.:gE:Sif:si:g =:s«£«~ g 1 Wf B:ii;iOs®S i gig^gsgSs&seBsg.ggssSgfl?®"^ g II SWIihBIifilfflrtHi I fiMfliiiiBiiiifctt | ^^E:=S:s8:ESi=®Js4i^S«i;::r^S .. — 5* I i- i �1982 MEXICO CITY �... ___ ���saa ��J —. _ ����I 1 BgjM- ?*; ,. J ?;.i: fjga! "i ?-•. ■•■■ • • ■ S rosa blanca I iWffl ! i :\-|F 3y t * 14 . is k I 1 ■ ' ■ |lv L "■Cb?; r ■ »K » ! ��■I : -LI ��I ; | ��I .. L ��1985 VERACRUZ ��I 11 • r ������1 �f I < ■ t w v ■ i1 vj I la. i - ■w ■I t ���£ ��I i ��do*. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. >). 6. 1. 3. 9. 10 11. 12. 13. ilw()w()^n/operall98l lining child in white cape], 1981 11 lark proud nian|. 1981 I Repiii ring I ’yramid of the Sun|, 1981. Weics (Kids in old car at night] 1981 i i inci • - . HittIhtz C’rackers]1981 |(did carrying. hi bag-vest approaches whiteline], 1981 (lloyin-^ iir/ in the whitedressskipping], 1981 girls in schoolclothes], 1981, Tepoztlan 14. t< 15. ids offruit], 1981 ... iiyr.iiH1sheet], 1981 16- [Bee hives/highway], 1982 [Fuses and meters], 1982 [Woman straps shoe in old building], 1982 [Local bar], 1982 [Table and chairs in street; flash], 1982 [La Rosa Blanca], 1982 [Wire lead into soda bottle], 1982 [Girl in small shoe repair], 1982 [Local restaurant and coffee], 1982 [Snack in steel case], 1982 [Napkin in shadow], 1982 [Girl in black skirt], 1982 Veracruz December 12 -19,1985 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. [Chalkboard menu], 1985 [Beauty shop], 1985 [Hanging light bulb], 1985 [Boy laughing; teeth], 1985 [Plastic sheet], 1985 [Waiter and money], 1985 [White sock], 1985 [Young girl eating], 1985 [Kids on sidewalk], 1985 [People dancing], 1985 [People walking/sidewalk], 1985 [Soda truck at gas pump], 1985 [Dog in shadows], 1985 [Napkins in glass], 1985 b.719b’ ■ ,cw v-.... " her-'’" ,1^ n J"' g>■y- teleP"‘ I hill1" Photographs are courtesy of the Zabriskie Gallery, New York. �' .2 i �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 May 14-June 11 Five in Mexico Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Mark Cohen Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1989 May 14-June 11 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/1814855f862d94c692b4e9641b5def6c.pdf ffcf5b7a8e2894b2b747832010b6e551 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 October 8 Selections from the Permanent Collection Date A point or period of time associated with an event in the lifecycle of the resource 1989 October 8 - November 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of the permanent collection of the Sordoni Gallery circa 1989. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/dc559d5aaff3211aecc0512e5eff89bd.pdf e58bb7bfc014d1d44bbd26f5b6f3b2fa PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 November 12 Louis Pontone: Myth and Mirth Creator An entity primarily responsible for making the resource Louis Pontone N/A N/A Date A point or period of time associated with an event in the lifecycle of the resource 1989 November 12 - December 17 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource N/A Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/0fe9508a26b12b0cfd3ffd4ae11fc312.pdf 0bc9b81846f5878b54eb45480b4f9fc7 PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 April 1 Two from Germany: Julia Lohmann and Manfred Muller Description An account of the resource Two from Germany highlights the work of Manfred Mller and Julia Lohmann, two distinguished artists working in the mediums of sculpture and painting. Creator An entity primarily responsible for making the resource Julia Lohmann and Manfred Muller Date A point or period of time associated with an event in the lifecycle of the resource 1990 April 1 - May 6 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/e8baa64ba9174c7aa55f72b81ab00a50.pdf 77fe8220e89bb60dd79bda71078713fd PDF Text Text ���� https://omeka.wilkes.edu/omeka/files/original/e95a1428eb9286166b9d9cdc99593c49.pdf d5c47c392dbf64ecf95f63de12a942e2 PDF Text Text ■bb io ,’■? 7 || - . ll » ' H <: _ ~ ” ‘'-I ’ I ' I I '|W' mi O ■ < ' ■'■; 7; ■■■■ 7 ■' 7 a .7-7 7 . <O 7 '?' ’■/?■ ■:: IB IIIBOS '■ 36- 77737 IgkSfci I HI ' - ij-it lr‘ - ■&• -: - • .; ■ -' •® 7 737 7737 II■ . ’ :' ■ p3; ■-■■ ‘ '- •Jj S62W5 • -- 7.7.. 7.:.<7 < ; 77-377:77j;77'7■ ■ :i’ . 77777: ■■ - 7'7 7. ..7; 7.. 1 7-. I '-A7 i ■. 77-7 37-7.777777 77 ...,O . 77^P37J.7 / • ■ ' '.7 . ■ IBO : 7 I H 11® . Illi Soli ' • ' 7< 3773-7 iffiii o. ■■■■i'll-fe ‘1 SB1! Ifi7..:;S7 7: ■. .. - - - ■ I I J . ■■■■ . ' . �_____ ■ archive; WILKES-E SENSES C An exhibition o the Sordoni Art of Wilkes unive Wilkes-Barre, Pf MAY 13 THROU I E S FARL WILKES. WILKE" I �WILKES-BARRE: SENSES ON SITE An exhibition organized by the Sordoni Art Gallery of Wilkes university Wilkes-Barre, Pennsylvania MAY 13 THROUGH JUNE 17, 1990 E.S. FAriLF* WILKES JV-'EnSHY WILKES - -E -A �MAF OP SHIPS: CD CD Curators statemer £ I ast Spring Brian Benedetti, Directoi approached me with the opportunity to orga with this year's 30th antiiwi diy Fiesta. Sin been interested in the idea of u-ing the Rive of site-specific sculptures. I hat location, wi foreground and distant background and the presents intriguing possibilities. After some auspices of the Sordont Art Gallery. Wilke* Pennsylvania Council on the Aris tor a gra temporary picci . designed -pc ill. alls tor f nearby location. A meeting with Marsha Mo,,, an in, logistical and bureaucratic complexities oft with initial direction. Sculpture Source, a s supplemented my knowledge of potential p located neatly one hundred artists doing w< The artists eventually invited were cl primary of which was my personal respons knowledge an exhibit of thr, nature had ne diversity was ai-o a consideration. John Bt River; Angelo Ciotti would address the arc; Hom would respond to the past recreation Poleskie would create a unique sky piece o\ to the Commons); George Shortess would incorporating the Burns Bell Tower on the commuter society; and, finally, Matthew T: designed for it-, location on the bank of th The succe-,»of the exhibition was bas with his/her own vocabulary and with an er developed an installation or performance-th; and provided us with the opportunity to exf 1 J Shbrtess > erweBr* rnoverctents. �Curator s Statement Last Spring Brian Benedetti, Director of the Fine Arts Fiesta in Wilkes-Barre, approached me with the opportunity to organize an exhibit of sculpture in conjunction with this year’s 30th anniversary Fiesta. Since moving to Wilkes-Barre in 1982, 1 had been interested in the idea of using the River Common as a venue to develop a series of site-specific sculptures. That location, with the dike dividing the landscape into foreground and distant background and the awareness of the River in between, presents intriguing possibilities. After some discussion it was decided that, under the auspices of the Sordoni Art Gallery, Wilkes University, we would apply to the Pennsylvania Council on the Arts for a grant to invite six artists to create and install temporary pieces designed specifically for the River Common or for an alternate nearby location. A meeting with Marsha Moss, an independent curator well experienced in the logistical and bureaucratic complexities of organizing such exhibitions, provided me with initial direction. Sculpture Source, a slide resource in Washington, D.C., supplemented my knowledge of potential participants through their registry, which located nearly one hundred artists doing work appropriate to our situation. The artists eventually invited were chosen for a variety of reasons, the primary of which was my personal response to their previous projects. Since to our knowledge an exhibit of this nature had never been done in the Wilkes-Barre area, diversity was also a consideration. John Bromberg would focus on the energy of the River; Angelo Ciotti would address the area’s historic involvement with coal; Mei-ling Hom would respond to the past recreational function of the River Common; Steve Poleskie would create a unique sky piece over Public Square (downtown and adjacent to the Commons); George Shortess would develop a sound interactive environment incorporating the Burns Bell Tower on the Wilkes campus and comment on today’s commuter society; and, finally, Matthew Tanteri would orchestrate a light installation designed for its location on the bank of the Susquehanna. The success of the exhibition was based on the fact that each artist, working with his/her own vocabulary and with an energy and integrity that was communal, developed an installation or performance that addressed the specific aspects of the site and provided us with the opportunity to experience our environment in different lights. Kevin O’Toole, Guest Curator �joho Brooubors I That th© waters of the earth can safely lead ©Mr passage throM9h dark times Location: Wilkes-Barre River common and Susquehanna River I i l i I I The excitement mounts as the date approaches. 1 have been most moved since the outset by the prospects of the river and how the bank interacts to create this marvelous vista. Driven by this my proposal is as follows Directly across from the Gallery amidst the tree,, in a park hkt atmosphere. 1 will construct what I see as a transmitter, twelve feet in circumference. A pyramid will sit atop bales of hay extending to the perimeter of the cylinder formed by the bales. The base of the pyramid will be aluminum wr! hold black line drawings while the top will be plexiglas, to expose object-, within. Protruding from the base are hundreds of blue sticks stuck into the hay. The second part of the piece is best viewed from up on To-.T behind the transmitter. Towards the water’s edge on the .service road appear three trees with their root systems exposed and with blue slicks stuck amidst the root . As you look out into the river, three large blue poles planted in the River bank stand as guardians poised in tension and movement with the river: on the opposite bank another group of poles also stands. “That the waters of the earth can safely lead our pas -.age thr<.mgh the dark times’’ is the name of the piece. John Bromberg February 1990 In conjunction with this piece, a ceremony was held on May 19 as a collaboration between the artist and Joseph J. Burinsky of Hazleton, Pennsylvania. This ceremony involved Native American ritual and conveyed respect for Nature especially as revealed in the many facets of the Susquehanna River. JHO'T Wilkes-Barre . • . wondrous, envigorating, varied, rich — a healing ceremony at its best! John Brombere June 1990 �^uehanna River been most moved ik interacts to create •ark-like atmosphere, umference. A of the cylinder im with bold black s within. Protruding i the bank direct:} ,ce road appear three ck amidst the roots, in the River rank rher; on the age :hr:ugb. the dark - t .We - 19 j.' c lazieton, ar.d corxeyea respect usquehanna River. n — a healing �Stephen Poleskie Circling the Square Location: 7000 feet above w In the 1960s Poleskie was a land.he found he couldn’t condense his visus — no matter how large he made it, it rt drawing on photographs taken from lh« Piper Apache in the specific pattern wh plane. A reporter who rode with him ci point pen. Recently he has been includi etc. — to co-ordinate with his movemei art all over the world, Poleskie’s sky piece for Wilkes-1 centered on Public Square during the F represents the completion of a cycle: P Poleskie exhibited his work when he w; For this performance he piloted an airj had six movements with titles relating ti and especially to the Flood of 1972, wl the Wyoming Valley. �In the 1960s Poleskie was a landscape painter, but once he started flying he found he couldn’t condense his visual perspective into a two-dimentional plane — no matter how large he made it, it remained flat and less than real. He began drawing on photographs taken from the air and would then fly his biplane or Piper Apache in the specific pattern while emitting smoke from the back of the plane. A reporter who rode with him compared it to being in the ball of a ball point pen. Recently he has been including events on the ground — music, dance, etc. — to co-ordinate with his movements in the air. Poleskie has performed his art all over the world. Poleskie’s sky piece for Wilkes-Barre (he is a native of nearby Pringle) centered on Public Square during the Fine Arts Fiesta. Circling the Square represents the completion of a cycle: Public Square was one of the first places Poleskie exhibited his work when he was still a student at Wilkes College in 1958. For this performance he piloted an airplane made in 1958. Circling the Square had six movements with titles relating to the history of Northeastern Pennsylvania and especially to the Flood of 1972, which caused significant damage throughout the Wyoming Valley. JHO’T �— MeHmg Mom untitled [Cabanas! Location: Wilkes-Barre River common The sculpture situated on the levee by the Susquehanna is a line of rhythmical, blocky, picket shaped forms. These oversized picket forms (8' high x 3 ' wide x 3 ' deep each) are in part my response to the trim tidiness of WilkesBarre and a visual play with the levee waterfront site suggesting a row of cabana­ like beach structures. On the levee the structure is a walk-through space forming an alternately covered and open arcade of dappled light filtered through walls of plastic construction fencing. The structure is built of orange construction netting and 2" x 2" lumber painted fluorescent orange. My perceptual game will hopefully be heightened as the setting sun illuminates and intensifies the orange netting and the fluorescent painted elements �A ■hm 1 I i I ! £■ anna is a line of picket forms (8 ' high x m tidiness of Wilkesjesting a row of cabana-through space forming iltered through walls of ge construction netting is the setting sun >rescent painted elements te backdrop of the beauty of each. 90 �BBS? \ ' y-i I & ■i I th > ‘?^'. *,+-*■ tf 7< * rl ' HZ ‘ijU.^ '■-« ■<■' �Angelo Ciotti Tintern Abbey Location: Wilkes-Barre River c In an art.cle far the . .r~a ;"..yr quoted as deicn’hJig h.; p.eces at ’ •’unc ■‘bring ?.:e bacK to a ?;-a_ ear.-. ' Re ­ shapes of Stone Age ar. a .'z cn.-r.. negative forms. or forces, Interact Jig. 7 sculptural style that no’ Inert Tiniern ce-.gnea to s from the Dorothy Dickson Dar.e Cerce: dramatic vista, ?. a cor... t .. -e r zbased on our coal .ega.y “';£village located a: .he er.a of a Rorr.ar. ? first coal mir.e< Th.s i~terrre aeon e: . ‘‘a place to re.< and por der upcr. natur content are relevant to our experience . �Angelo Ciottl Tintern Abbey Location: Wilkes-Barre River common In an article for the journal International Sculpture Angelo Ciotti is quoted as describing his pieces as “functional earthworks,” whose purpose is to "bring life back to a dead earth.” He is inspired in his work by the prehistoric shapes of Stone Age man and the oriental emphasis on simple positive and negative forms, or forces, interacting. The artist states, “I want to see a sculptural style that is living, not inert.” Tintern Abbey was designed to sit near the dike of the Susquehanna across from the Dorothy Dickson Darte Center where the River bends and creates a dramatic vista. It is a contemplative piece — the viewer is able to sit within it — based on our coal legacy. The title, Tintern Abbey, is taken from the Welsh milage located at the end of a Roman road, where the Emperor Hadrian built the first coal mines. This interpretation of a Gothic abbey is, in the artist’s words, “a place to rest and ponder upon nature’s rejuvenation of life.” Both theme and content are relevant to our experience in Wilkes-Barre. JHO’T �I ■ oeoiro® K* Shortens MAttowerk: cairradljo Location: Burns Bell Tower, Wilkes university Art is experience. Art is perception. Art is the process of our nervous systems The essence of art is in particular kinds of human perception, I make physical art objects and sounds that can be appreciated either as playful art works or as reflections on the nature of perception and art. The installation is designed to create art within the individual viewer that can raise questions about art and about social concerns as we experience the world around us. The objects and messages around the base of the tower provide visual commentary on a mobile, consumer-oriented society as a loose collection of ideas. The sounds generated within the installation stimulate some interactive aspects of the human nervous system, the system which is essential to our experience as human perceivers. They are computer-generated sounds and computer-modified radio sounds. The particular temporal pattern is influenced by the ways in which viewers move and interact with the sensors that provide the input to the small computers controlling the sounds. We move as we absorb the images of the space and the tower, generating the sound patterns which are suggestive of our neural aesthetic responses as cycles of interacting nervous systems contemplating the environment modified by human intrusions. In this way the installation becomes a metaphor for the perception of the altered environment. Structure is very important for me, particularly the isomorphism in the structure of the nervous system and the structure of my art works. For the expression of this kind of correspondence, the computer is an ideal tool, both for implementing particular ideas and for conceptualizing the relationships between neural networks, perceptions and art experiences. The computer and, by extension, the tower itself, becomes a metaphor for an interacting primitive nervous system that generates sound responses. The process is analogous to the way our own nervous system responds. Behind this installation is my hope that some viewers and listeners will appreciate esthetically the idea that neural activity is our art experience. George K. Shortess February 1990 �nervous 3n, I make yful art tallation is :stions about , The objects try on a interactive o our Is and influenced t provide the •, generating Dnses as modified by 'or the ism in the -or the tool, both for ips between by extension, rvous system our own •me viewers is our art �r — 9 I Matthew Tanter The Wilkes-Barre Tran H Location: Wilkes-Barre River This light sculpture consisted oi land’s edge along the curve of the Sus atmospheric conditions a grouping of 40' above the ground to form a ‘Big The installation was best viewe the evening hours. It was designed to conditions of moisture and air ou ■ f and dematerialized while mingling wit Watching it over a period of time all changes in atmosphere — variations : creeping over the dike. Positioned on light made visible their subtle interact ii 3 A Short History of the Work o Transmissometer ? < I i i Catching the last bus heading — sorting through a collection of sit repeatedly in my memory. Walking discovered the thin line separating e; of a vista, the boundaries of which i careful consideration. After working through severs plan to create a light structure that • extend it upward into the night sky. this visual effect I was left with two The runner up: the headlights of a and fuzzy at the edge. The winner: stamped on the back of it. In my dictionary I read: “tra measures the visibility or the capabi the lamp’s manufacturer, I learned local airport to determine the heigh by shining these lights up, and usu; the cloud, the height can be figured me in on their lesser known use — In my outdoor tests the lamps prod lent a conceptual basis to develop ti transmissometer that would allow t integral to the riverfront environme The W, of course, is for Wil �Matthew Tanteri Th® Wilkes-Barre Transmissometer or Big yy Location: Wilkes-Barre River common This light sculpture consisted of 12 sky pointing searchlights placed at land s edge along the curve of the Susquehanna River. Responding to local atmospheric conditions a grouping of four cloud-bound light columns crossed 40' above the ground to form a “Big W” in their center. The installation was best viewed along the dike area from late sunset into the evening hours. It was designed to make visible the active environmental conditions of moisture and air mass found along the riverbank. It materialized and dematerialized while mingling with the natural beauty of the landscape. Watching it over a period of time allowed heightened observation of subtle changes in atmosphere — variations caused by clouds passing overhead, a mist creeping over the dike. Positioned on the border where air, earth and water meet, light made visible their subtle interaction. A Short History of the Work or W is for Wilkes-Barre but What’s a Transmissometer? Catching the last bus heading back from Wilkes-Barre to New York City — sorting through a collection of sites seen that day — one image returned repeatedly in my memory. Walking towards the Susquehanna River dike, I discovered the thin line separating earth and sky opened — to reveal the drama of a vista, the boundaries of which gave the Susquehanna’s winding progress a careful consideration. After working through several project ideas I returned to this site with a plan to create a light structure that would define an edge along the riverside and extend it upward into the night sky. In the final round of lights tested to achieve this visual effect I was left with two lamps — both found at your local airport. The runner up: the headlights of a Boeing jet. It was bright, but a little too wide and fuzzy at the edge. The winner: a lamp with the word “transmissometer’’ stamped on the back of it. In my dictionary I read: “transmissometer” — an instrument that measures the visibility or the capability of the air to transmit light”. Speaking to the lamp’s manufacturer, I learned it was part of a ceilometer as used at your local airport to determine the height of the cloud ceiling above the earth. It seems by shining these lights up, and visually determining where the spot of light meets the cloud, the height can be figured by triangulation. Another manufacturer et me in on their lesser known use — in lighting the torch of the Statue o i ertj. In my outdoor tests the lamps produced the narrow beam I desired. They a so lent a conceptual basis to develop the idea of a large scale, W-shape transmissometer that would allow the viewer a visual measure of an activi y integral to the riverfront environment. The W, of course, is for Wilkes-Barre. Matthew Tanteri June 1990 �Acknowledgements Any exhibition requires the talents of many people, but with site-specific sculpture the numbers become legion. We were gratified by the many positive responses we received to our requests tor help, even though many of our needs were unusual and our product was a challenging form of outdoor art. In this year of public scandal about the arts we were pleasantly surprised to find our regional audiences willing and able to lend a hand and embrace our goals. We are grateful to all who made this exhibition possible, especially the artists who participated and so touched our lives in a unique and lasting way. Kevin O’Toole accepted his job as guest curator with a professionalism and diligence which resulted in a harmoniously divergent group of artists and pieces. Marsha Moss, an independent curator, and Andrew Zorn, Director of Sculpture Source in Washington, D.C., were helpful in lending advice and information during the formative stages. Annie Bohlin lent her usual uncanny sensibility to the design of this catalog and the map which served as guide to our visitor-. David Stevens of the Pennsylvania Council on the Arts was enthusiastic and encouraging. Richard Maslow of the Maslow Collection of Contemporary Ar: readily lent support for an educational artists’ symposium in conjunction with the exhibition. Brian Benedetti offered the safe umbrella of the Fine Arts Fiesta to help with security, insurance, and publicity. The Wilkes-Barre City offices under the direction of Mayor Lee Namey were accommodating and supportive — special thanks go to Dianna Gull. Ken Anderson, Manager of Forestry Operations at Pennsylvania Gas and Water, went the extra mile for us. At Wilkes University, Professor of Art Herbert Simon permitted the use of his sculpture studio for our guest artists. Ray Woods and Harry Miller, along with the ABM crew of Wilkes University under the direction of Gabe Sidonio and John Ruda, offered willing and much needed support to the installation and dismantling of the sculptures. The crew teams of both Wilkes University and mg s College stood ready to help with the river ceremony. Special attention should be given to those who gave in-kind support and are iste on a separate page in this catalog. To these, and to the manv supporters who cannot be named, we extend our thanks. Judith H. O’Toole, Director own body �.4/ W wY/0 Me-sP^lC L pos'uve, lo®"?? 1 ynt^s ■find o^r ■ oa^- , o KiaUV tbe lK°SeV« m r^- lauoniu0ne Kcou^'""' ■etinsj’-' »d tbe.-Xor^ Bkdsv^-/' ■sUY Mr �This exhibition is supported in part by a grant from The Pennsylvania Council on the Arts, with supplementary grants from The Marquis George MacDonald Foundation and The Maslow collection of contemporary Art. I we would like to thank the following organizations for their in-kind contributions: Brojack Lumber co., Montdale, Pennsylvania DeNaples Auto Parts, Dunmore, Pennsylvania Department of Earth and Environmental sciences, Wilkes university Pagnotti industries, west Pittston, Pennsylvania Pennsylvania Gas and water company, Wilkes-Barre, Pennsylvania Schulmerich, carillon Hill, Sellersville, Pennsylvania Sincavage Lumber, Plains, Pennsylvania Sterling Farms, Harveys Lake, Pennsylvania Susquehanna River watch, Luzerne county, Pennsylvania Tenax corporation, Jessup, Maryland valley Rent-All inc., Wilkes-Barre, Pennsylvania copyright by the sordonl Art Callery, Wilkes university, 1990. Photography by Nat Bohlln and Kevin O'Toole, catalog design by Annie Bohlln. Printing by Design Systems Printing. i ��■ J � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 May 13 Wilkes-Barre: Senses on Site Creator An entity primarily responsible for making the resource George K. Shorten Angelo Ciotti John Bromberg Mathem Tanteri Mei-LingHon Stephen Poleski Kevin O'Toole Date A point or period of time associated with an event in the lifecycle of the resource 1990 May 13 - June 17 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Wilkes-Barre: Senses on Site is an exhibition of outdoor sculpture created specifically for certain locations in Wilkes-Barre by six nationally recognized artists. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/ba881c1323364127974b432dd3f4a34e.pdf 970ea89088208db3290d585fbc0f542a PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 June 24 Keith Jacobshagen Creator An entity primarily responsible for making the resource Keith Jacobshagen Date A point or period of time associated with an event in the lifecycle of the resource 1990 June 24 - July 29 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition is a survey of recent (circa 1990) paintings by Keith Jacobshagen Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Babcock Galleries https://omeka.wilkes.edu/omeka/files/original/4e5d16a184a25be6c9f65d4e57e8030d.pdf 166f715ae2fc427a5a812ef4ef4e5555 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 Septemeber 9 Selections from the Permanent Collection Date A point or period of time associated with an event in the lifecycle of the resource 1990 September 9 - October 14 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of the permanent collection of the Sordoni Gallery circa 1990 Type The nature or genre of the resource Exhibition program