Toujours de la pluys cher fils et cela a procuré à notre chère petite [Marie-Catherine Michel de Villebois] la satisfaction d’aler à la messe en calesche dans la boue comme en may.
Madame Bégon à son gendre en Louisiane
Montréal, le 25 décembre 1748

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Que te dire cher fils ? Qu’il neige et qu’il fait grand froit. Tu me dira que je suis dans un payis où c’est la saison. Cela est vray mais je n’an soufre pas moins.

Madame Bégon à son gendre en Louisiane
Montréal, le 20 décembre 1748

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Catherine Ogden (1709-1797) was born and raised in New Jersey. Her mother Catharina/Catherine Vanderpoel (1683-1727) hailed from Albany, and Dutch roots may explain the choice of Pieter Vanderlyn (1687-1778) to complete this portrait of Ogden .

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Brilliant piece on by the equally brilliant Dr. Emily Thames on José Campeche's ex-voto of the Holy Family!

https://t.co/zHUhLmvMIM

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Great to hear Dr. Liz Ellis of kick off 2022 with an overview of her important new book, The Great Power of Small Nations: Indigenous Diplomacy in the Gulf South.

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Obsessed with Dr. Alexander Hamilton's 1755 caricatures of Annapolis Tuesday Club members, beginning with his own (as club secretary "Loquacious Scribble Esqr."). Silly little guys being silly little guys.

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Bonne Fête Nationale d'Acadie! / Happy National Acadian Day! Check out some history : https://t.co/abB9upAk8v

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John Greenwood’s sensitive circa 1750 double portrait of Salem sitters Abigail Flint Holloway Gerrish (circa 1680-1750) and her granddaughter Abigail Gerrish (1743-1822). Now at .

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Portrait of a Virginia gentry girl, said to be a member of the Ludwell family, attributed to Charles Bridges and painted in Virginia between 1735 and 1744, now . The canvas survives in its original silvered frame.

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A fave Feke, Edward Shippen IV (1729-1806) of Philadelphia, who sat for Robert Feke in 1750 at the age of 21. One of the artist’s best, great suit (the dog-ear cuffs on the coat are 🔥, the pink lining is also a nice touch), even greater swagger.

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These titles by , , and , 's Two Métis Women in 18th-C Île Royale (https://t.co/mfDlZc2Q0Q) and 's Black Tradeswomen + the Making of a Taste Culture in Lower Louisiana (https://t.co/9a9BAqfdmK)

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The Maryland-born Quaker Ann Galloway Pemberton (1750-1798) painted by James Claypoole, Jr. as a pendant to her husband’s portrait by the same artist circa 1767.

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Joseph Pemberton (1745-1782), Quaker merchant of Philadelphia, painted around the time of his 1767 marriage by James Claypoole, Jr.

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Philadelphia-born, Matthew Pratt traveled to London in 1764 and 1770, copying a number of old master paintings. He exhibited this copy of Guido Reni’s 1636 Jupiter and Europa at Williamsburg’s King’s Arms Tavern in 1773. Now

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Mary Wright Alsop (1740-1829) of Middletown, CT. Like her mother, she also sat for Ralph Earl in 1792. The sheen of her green silk gown and the reflection of her forearm in the table’s polished surface are especially satisfying.

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Hannah Gilbert (1718-1804) of Middletown, Connecticut, married to Joseph Wright (1705-1775) in 1739 and painted by Ralph Earl in 1792 as a widow.

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If her father's business explains the consumption of Indian plaid textiles in 1790s Philadelphia, the date of Mrs. Clymer's portrait also suggests the sartorial influence of Saint-Domingue refugees who flooded the city in the wake of the Haitian Revolution.

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Mary White Morris, wife of patriot financier Robert Morris and painted by Charles Willson Peale in 1782.

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A Philadelphia portrait of a very fashionable Martha Doz (1750-1808), attributed to James Claypoole, Jr. Now at the Second Bank of the United States Portrait Gallery

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Icebreaker during diss fellows' orientation at was "what would you reproduce or bring back from early America." I went with extinct birds for some reason. But RIP to the Carolina parakeet and passenger pigeon, recorded by Mark Catesby in the 1720s.

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