Early Artists of Newark Valley

Alida Virginia Noble
By Gavin Callaghan

This article first appeared in the summer of 1997, in the "Tioga County Courier", 59 Church Street, Owego, New York 13827.

Alida Noble was born on Feb. 13, 1849, at Newark Valley, the daughter of David W. and Esther (Bootree) Noble. She and her parents initially resided "in the large building torn down some years ago and formerly occupied as a store by the Noble family nearly a century ago." (Tioga County Herald, 1929)

At around the age of five, Noble's parents moved to her grandfather, William T. Noble's, former farm on the east side of Main Street, north of Hope Cemetery. Here she lived with her parents and three brothers, Charles L. and Lyman Bird Noble, and it was her home until her death.

Noble joined the Newark Valley Congregational Church in 1865, of which she remained a member all her life. She later attended Elmira College, and became a Mathematics teacher for ten years or more at Claverack College, on the Hudson (Owego Times, Feb. 1929), and at "other schools in the eastern parts of the state" (Arthur Livermore's column).

It was while teaching at Claverack that Noble "began studies in painting and developed an outstanding talent, so that in later years, she was widely recognized as perhaps the best American copyist of the Old Masters" (Owego Times).

The early part of the 1900s was spent by Noble in developing her art. According to her obituary, "She made four trips to Europe to copy pictures in the famous galleries of Paris, Florence, Rome, Dresden, and other cities, some of these copies being made on commission for American patrons and others for her own collection."

One of these early trips to Europe was detailed in the Owego Gazette. It would appear to have been her first time abroad. A small item reads:
"Miss A. V. Noble left town Wednesday for New York, where she will remain until Wednesday next, when she will sail for Europe in company with Rev. J. S. Ellsworth and wife."

A later article reads:
"Rev. J. S. Ellsworth and wife left town Monday, and after taking their son, Charlie, to the home of his grandparents at Rome, Pa., where he will remain during their absence, and stopping a short time with friends at Owego, they went to New York Wednesday, and in company with Miss A. V. Noble, will sail today on the steamer Maasdam for Boulogne, France. After a trip through France and Italy, Miss Noble will stop at Florence, where she will study art for a time, and Mr. and Mrs. Ellsworth will sail from Naples for Egypt, where they will visit many places of interest. From there they will go to Jaffa, where they will commence a tour of the Holy Land. After this they expect to return to Athens and will make quite an extended tour through the countries of Western Europe, reaching home about the 1st of August. We expect to publish, during Mr. Ellsworth's absence, several letters from him. The number, however, will depend upon the amount of time he can spare to prepare them."

According to a note written by former Newark Valley Town Historian, the late Lena Bushnell, in one of her scrapbooks:
"Miss Noble's home was where the present Ross Kenyon home is on South Main Street. She was a talented artist who had painted for royalty in England. The story is told that while painting in the chapel in Paris nights a friendly Collie would come in and sit by her side. Some nights the chapel would be cold and she would warm her fingers in the collie's hair. She also painted a picture of this collie and it is now owned by Rollie Noble. She also painted the very valuable 'Jesus in the Temple' which hangs in the Congregational Chapel." This painting, "Christ in the Temple", is a copy by Noble of an original and still hangs on the Chapel wall.

Noble's father died in 1890, her mother in 1894. According to Art Livermore's column Noble "was a famous copyist and her paintings readily found a market. At one time, her art classes were crowded with pupils wishing to work themselves into fame." According to Noble's obituary,
"She has produced a great number of paintings, many of which have been presented to various individuals and institutions, and many of which are still in the Noble home. Two or three years ago (around 1926 or 27) she gave to St. John's Catholic Church of Newark Valley, a large copy of `The Immaculate Conception', which is now hung in the church and is of much value."

In 1913 the town was presented by Noble with a great original work, a portrait of Lee Roy J. Tappan, poet and founder of the Tappan-Spaulding Memorial Library. Before his death in 1905 at the age of 25, from tuberculosis and meningitis, Tappan had willed nearly his entire estate toward the building of a town library, which was constructed in 1908.

An October 10, 1913 article in the Tioga County Herald, on the upcoming unveiling ceremony for October 14, says:
"The portrait to be unveiled is said to be a very handsome one and was ordered by the Board of Trustees last spring from the well known portrait artist, Miss Alida Noble of this village. Miss Noble has been at work on the painting nearly all summer, at a studio in New York and at her home here. It is said to be a very fine production and it will be hung over the fireplace in the library reading room."

The unveiling ceremony at the Congregational Church, detailed in an October 17 article in the Tioga County Herald, featured a short address by Rev. J. J. Hogan of St. John's Church; a short musical program; (an organ voluntary by Mrs. W. E. Simmons); prayer by Hon. E. G. Nowlan; selection by a brass quintet: Messrs. Joslin, Blatchley, Elwell, Snyder, and Belden; and two songs "beautifully rendered" by Mrs. Barford and a vocal duet by Mrs. Barford and Miss Roberts). According to the article:
"A social hour followed at which all were given opportunity to make a close inspection of the painting. The portrait was unveiled by Misses Marion Cargill and Edna Lyman.
"The chief features of the program were the addresses by Rev. B. B. Knapp of Old Forge, New York, and a paper read by Miss A. V. Noble, the artist."

Regarding the portrait, the article reads:
"As explained Tuesday evening by Prof. Barford of the Board of Trustees, the matter of securing a fine portrait of Mr. Tappan, to hang in the Library, had been under discussion for some time and last spring it was voted to commission Miss Alida V. Noble, of this place, the talented portrait artist, to execute the work. Miss Noble was of course eminently fitted for this, having known Mr. Tappan very well from his childhood and she was anxious to make the portrait something of a lasting example of her talent---for her home town and its public institution. Mr. Tappan frequently visited the home of Miss Noble and inspected and discussed her work and had for some time expressed a wish that she should paint his portrait in oil. Not long previous to his last illness he had indeed stated that he had decided to have this done if the artist would undertake the work. She has put her best into the work, which occupied several months, much of the work being executed at a studio in New York and where she frequently visited the arts galleries to study the famous portraits---as she explains in her address which we also print below. The work has been pronounced by connoisseurs to be one of exceptional merit. To the layman, especially to those who knew the subject in life, it is a strikingly natural likeness. The canvas is 30 by 40 inches and it is framed in a very handsome 5-inch frame of antique gold from one of the New York art houses. The portrait is painted from the last photograph which Mr. Tappan had taken and this was at a period about two years before his death. Thus the countenance is noted as a trifle more boyish than it was when he was last in our midst. It's a 3/4 length life size figure representing the young man seated in a chair, one hand resting carelessly on the chair arm and the other on one knee. The face is nearly full view, but slightly turned.

"The price paid for the portrait is not made public. It indeed would be of no significance as it is but a nominal figure intended by the artist as but a reimbursement for time and attendant expense. Neither can any approximate value of the portrait be arrived at. The celebrity of the artist to a great measure fixes the ordinary charges for executing portraits. However, it might be said that the value has been estimated at approximately $1, 000."
Lena Bushnell has noted in her notebooks that the portrait "was accepted for a price of $325."

The 1913 article then proceeds to give a full rendering of both the Rev. Knapp's, a former pastor of the Congregational Church and Lee Roy J. Tappan's closest friend, and Noble's speeches. Noble begins her address by saying:
"Because it has been my privilege to paint this portrait which has just been unveiled, of one whom I have known from his earliest childhood; and who has left us such a beautiful and lasting memorial, I am glad to add a few words of tribute to his memory, and to join with you in the most hearty appreciation of his great service to his native town.

"The making of this picture has been to me principally a labor of love. And the thought that by this work I could help to some extent, at least, in giving to those who did not know 'Roy' some knowledge of his kindly and intellectual personality, has been a constant inspiration.

"The art of portraiture in its varied forms is very old and seems to be a response to one of the most natural longings of the human heart..."

Noble then goes on to detail the long history of portraiture, beginning with Greece and ending with the English school of the 1700's. She says that the Mona Lisa "is one of the finest examples of highly finished portraiture that exists", and concludes by describing her working method and influences on the Tappan portrait:
"There is much that might be said of modern art, but I fear that I have already overrun my time and will only say that it was the portrait of William Chase in the Metropolitan Museum of Art in New York, by Sargeant, one of the first of the living portrait artists, whose masterly technique, simple and direct, would almost make you feel in the presence of a living man, with his palette and brushes in his hand as you stand before it, instead of only canvas and paint.

"It was this picture that inspired my to believe that I could do this portrait in oil and I went to see it several times, while working to gain further inspiration. And it was these inspiring words, written by someone, sometime: 'The portrait of a helpful friend, like the earnest words of a great man, may often inspire us to render service to humanity to the utmost measure of our power.'"

Alida Noble died on Sunday, Feb. 3, 1929 at the home of John and Effie Cameron of Newark Valley, where she had been ill and cared for, for four weeks. According to the Tioga County Herald for Feb. 4, Noble "had been in failing health for some time and suffered a shock on Friday last." The funeral was held at the house on Tuesday, Feb. 5, Rev. D. Glynn Lewis, pastor of the Congregational Church officiating.

The burial was at Hope Cemetery. Noble was survived by her two brothers, Charles of New York City and Lyman of Battle Creek, Michigan; and a niece, Mrs. Neil Stevens, of Glen Cove, Long Island.

According to the Tioga County Herald, Noble "was a very kindly, affable woman, delighting in showing her pictures to many visitors who have wished to see them in the past years, and she has given much aid and encouragement to many young people in art studies."

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Susan Catherine Moore Waters
By Martha J. Schneider

The earliest painter considered herein was not a resident of Newark Valley. Yet her brief stay in our area was very important and the impact of her work has recently been brought to the foreground. Mrs. Susan Catherine Moore Waters (1823-1900) (Fig.1) was born in Binghamton, New York. Later moving to Friendsville, Pennsylvania, Susan helped pay expenses at the girls' seminary she and her sister attended by providing drawings for her Natural History class at the age of 15.

Fig. 1 Susan Catherine Moore Waters

She married at age 17 to William C. Waters, and after a few years, he encouraged her to develop her talent as a painter. During three years (1843-45) Mrs. Waters traveled through this region of the Southern Tier of New York and nearby northern Pennsylvania painting portraits. While there were other itinerant painters at the time, very few of them were women.

It was during 1844 that she worked in Newark Valley and surrounding parts. She painted many portraits in Berkshire, including those of Amanda and John Royce (Fig.2), and at least two portraits in Newark Valley.

One of these is "Dr. Lincoln's Daughters." Typical of the period, it included fruit, flowers, a pet, and a potted plant along with the children and is set against a partially draped background. (Fig.3) It was very recently discovered, and much to the shock of the owner it brought over $90,000 at auction. It now hangs in the Boston Museum of Fine Arts.

Itinerant painters would often stop at a home without notice. Soon the grapevine informed interested neighbors of the limner's arrival and talent and appointments could be made for portraits. Most of the time, the painter stayed in the home of the client for the few days that the painting took to complete. Successful painters worked quickly for their own benefit as well as for the sitter's. Generally, a portrait brought the artist from ten to forty dollars. 1

Many folk portraits are considered to be ugly. In fact, some are very difficult to look at. There are several different explanations as to why the face is usually so serious. Some say the sittings were too long; some blame religious influences -- one story is that if you smile the devil will enter through that vehicle! Still another reason not to smile for a portrait is that the sitter may later not like to look at himself smiling.

Fortunately, Mrs. Waters' portraits are not so austere as some of her contemporaries' works. Most are pleasant to look at, especially those painted toward the end of her period of travels. Her paintings were done on available materials (primed linen, cotton, or mattress ticking) and have survived in sound condition due to good craftsmanship and proper application of paint. The artist entered the name and age of the subject(s), the date, then usually her name in black on the reverse of the canvas.

A combination of her husband's poor health and less demand for portraits due to increasing popularity of daguerreotypes brought an end to Mrs. Waters' career as an itinerant portraitist. The Waters' then worked as photographers until the mid-1850's. Later, while living in Bordentown, New Jersey, Susan Waters turned again to painting. This time her subjects were animals and still life arrangements. Such works were in demand to ornament the fashionable Victorian home. She was especially praised for her pictures of sheet which she captured particularly well. In all, she painted for nearly sixty years of her life, leaving behind paintings treasured by the population of a wide area of the northeast, including Newark Valley.

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Mary E. Jenks
By Martha J. Schneider

A mid-19th century local painter whose large landscapes have been termed "Cole-ish" (after Thomas Cole, a founder of the Hudson River School) is Mary E. Jenks of nearby Jenksville. Some of her paintings, both in size and in theme, simulate the grand vistas portrayed by Hudson River artists.

Attached to the back of an 1854 landscape canvas, was a paper explaining that the artist had at one time wished to marry a "western" man. However, her father would not allow this, so she remained a maiden lady the rest of her life. She taught art in school and is considered a "Sunday painter" because she pursued her interests in art and music in her leisure time and not as a professional.

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George Byron Sutton
By Martha J. Schneider

George Byron Sutton (1834-1902) (Fig. 4) combined sculpture and painting with his profession and renowned skills in taxidermy. Perhaps Mr. Sutton inherited a sensitivity to nature from his mother, who was a naturalist. Remaining a bachelor, he became widely known for his private collection of stuffed birds. He painted backdrops of scenery for his arrangements of birds and animals for display. For example, one such assembly was backed by a nine by eleven foot painting of an American forest.

Fig. 4 - George Byron Sutton

He also sculpted a broken tree trunk as a foundation for this display of seventy-five species of North American woodpeckers. This along with a similar collection of skunk family specimens was presented to the Cornell University museum in the 1890's. 2

Mr. Sutton is also known to have produced about twelve to fifteen oil paintings. Most of these portray animal scenes and are of a late Victorian style. 3 Of great interest to local residents are two landscapes representing view of Newark Valley.

Both these landscapes are the same size and style. They reflect the influence of the Hudson River School, whose typical scene included virgin landscape fading into the far-off distance. Sutton's approach combines Doughty's tranquil mood with Durand's adherence to naturalistic detail. Such accuracy complemented his work as a taxidermist and carried over into these paintings as well. Both hang in the Tioga County Historical Society Museum along with a self-portrait in charcoal of the artist (Fig.4).

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LeeRoy J. Tappan
By Martha J. Schneider

He spent many of his lonely hours painting, and as several examples show, had considerable talent for capturing detail. When one considers that these paintings were executed by a boy of 14 and 15 years of age, the degree of accomplishment can be even more greatly admired. His attention to components is especially evident in the pastel rendition of a mule, and the composition in oils of roses -- an especially difficult subject to capture realistically. (See Fig.8 & 9)

It is particularly difficult for a painter using an opaque medium to portray transparent containers, with or without contents. Tappan displays knowledge of techniques necessary to bring transparency across in his "picture of Dr. & Mrs. R.S. Fellows table, corner of Main and Brook St.". 4 (Fig.10) Since he dated the painting 1894, he was only 14 when he demonstrated this skill.

Two other small (approximately 8x12) oil paintings are seascapes. One is a lighthouse in moonlight and is simply signed "Roy". (Fig.11) While good, it does not approach the quality of a Dutch harbor scene painted in 1895, when Tappan was 15. (Fig.12) The latter shows mastery of both the water and the clouded sky. Again, attention to meticulous detail is evident in the buildings on shore as well as the ships. This composition expresses more unity than the others and could possibly have been influenced by master painters. I know of a Dutch painting in the Museum of Fine Arts in Boston called Fort on a River done in 1644 by Jan van Goyen. It differs very little from Tappan's painting. Van Goyen's water is calmer, and the boats are smaller types, but a similar sky threatens a similar shoreline, including the faint windmill in the center distance. I postulate that Tappan saw this painting and either painted from memory or made his own changes in buildings and ships.

LeeRoy Tappan died at the early age of 25. It is tempting to contemplate what more this talented young man could have accomplished, had he lived longer. He is remembered, however, by the residents of his village. In appreciation of the "efforts made by the civic minded people of Newark Valley who had worked valiantly to maintain a library for the public," 5 his will provided about $20,000 for a library building to be erected and maintained in the village. Tappan-Spaulding Memorial Library opened 3 years later in December of 1908.

The portrait of Tappan (Fig.7) was painted by Alida Noble and was presented on the library's fifth anniversary in 1913. The unveiling ceremony was held at the Congregational Church. It was quite an affair, complete with printed programs listing musical numbers, prayers, and addresses along with the unveiling, and was followed by a social hour. Reverend B.B. Knapp drove all the way from Old Forge with a horse and buggy to give the address for the occasion.6 Artists in this study were represented in some parts of the ceremony; the organ was played by Mrs. Simmons, a solo performed by Mrs. Smith, and "remarks" given by Miss Noble, the portraitist. This portrait of the founder now hangs in the library.

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Alida Virginia Noble
By Martha J. Schneider

While in Europe she visited many famous cities including Dresden, Rome, Paris, and Florence, to work in the galleries. She produced a large number of paintings in her lifetime -- among them the previously mentioned portrait of Tappan (Fig.7) who had been a friend. Some were for her own collection, but most were commissioned by patrons in America and abroad, including royalty. She distributed many of her paintings to friends, churches and institutions.

In her diary of her second trip abroad, Miss Noble gives us a glimpse of the conditions in which she often worked. While copying in the Lourve, she was only allowed to work after hours. There was little, if any, heat. She had to work by candle-light. Soon a collie began accompanying her in the evenings. After some time, the dog trusted her and allowed her to warm her hands in its fur so her fingers wouldn't be too numb to handle the brushes. The Noble family has a painting of this collie done by Alida.

Many of the copied works done by Miss Noble are of a religious nature, such as the Immaculate Conception, Repentant Magdellan (Fig.14), and the familiar Boy Jesus in the Temple (Fig.15). The Church was always a powerful patron of fine art, providing the world with an abundance of works "for the greater glory of God and the Church". 8

Another painting (Fig.16) appears to be that of a Christian martyr, possibly Saint Agatha. Its canvas for some reason has an obvious seam running down through the subject's face. The painting itself is generally well done. The hand in the foreground is badly proportioned, but the drapery and especially the ruffles of lace are well represented. The painting is believed to be a copy of the 17th century Italian master Guido Reni. The subject has large sorrowful eyes reflecting her suffering. This treatment of the eyes is also a style of the Baroque period in which Reni painted, considered to be the final phase of the Renaissance. The original could otherwise been painted by Carlo Dolci, who painted in the 18th century and copied the style of Reni.

A small painting of a young girl in pink called The Age of Innocence (Fig.17) is also a copied piece. It is unsigned as are all the works which are copies, as required. Another requirement is that copied paintings measure 1/4 inch smaller than the original work.

Miss Noble continued to paint throughout her life and gave lessons as well. Miss Bertha Nowlan was known to have taken lessons in oil from Miss Noble in the 1920s, when Miss Noble would have been in her seventies. Miss Nowlan had her easel always set up in an upstairs room so that she could readily pain whenever she had the opportunity.

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Belle Donley Smith
By Martha J. Schneider

She also painted on china, a popular pursuit of her times. She shared these interests with several other ladies in Newark Valley. Mrs. Florence Fellows Bushnell painted china and oils. Another contemporary was Angeline Purple, a school teacher. She turned to oil painting in her later years after her husband passed away. Having had no lessons, she painted only for pleasure. Surviving paintings are of barnyards and pastoral scenes.

Mrs. Anna Rogers Simmons was also a school teacher and an accomplished organist for the Methodist Church. She, too, painted in oils and on china until becoming too ill to continue these endeavors.

Mrs. Verdi Howard Turner displayed talent as a painter of china and gave lessons to local students in the art.

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Conclusion

This gives a fairly complete sampling of early artists of our area. Although most of these people painted at leisure, some employed their talents as a way to make a living: Mrs. Waters as a portraitist, Sutton in conjunction with his taxidermy, and Miss Noble as a commissioned copyist.

It is interesting to note how the prevailing styles of the times often found their way to Newark Valley. Apparently there was enough exposure to contemporary art, through travel and other means, to influence some of the works done here.

There are many residents now who are carrying on the tradition of painting our inspiring surroundings and each other. May future generations value and appreciate our efforts as we do those who have gone before us.

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Footnotes

1 - Kinney, Jean and Cle: 21 Kinds of American Folk Art, p.77.
2 - Owego Gazette, February 13, 1902: Obituary for George Byron Sutton.
3 - Interview with Richard Barons, Maine, NY.
4 - Note attached to painting.
5 - Unidentified local newspaper article (probably Tioga County Herald) 1958
6 - Interview with Miss Olive Knapp, Newark Valley.
7 - Owego Gazette, February 14, 1929: Obituary for Alida V. Noble.
8 - Janson, H.W.: History of Art, p. 405.

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Bibliography of Published Works

• Davidson, Abraham A.: The Story of American Painting, c1974, Harry N. Abrams, Inc.
• "Folk Portraits", by Frank Donegan, in Americana, Vo.10, No.6, January-February, 1983. p. 21
• Gay, W.B., editor: Historical Gazetteer of Tioga County, New York, 1785-1888. Part First. Published by W.B. Gay & Co., Syracuse, NY.
• Howat, John K: The Hudson River and its Painters.
• Howland, Vida W.: A History of the Tappan-Spaulding Memorial Library, Newark Valley, NY. Published by the author, School of Library Science, Syracuse University, 1965.
• Janson, H.W.: History of Art; a survey of the major visual arts from the dawn of history to the present day. Ninth printing, l966. Prentice-Hall, Inc./Harry N. Abrams, Inc.
• Kinney, Jean and Cle: 21 Kinds of American Folk Art. Atheneum, 1972
• Owego Gazette: February 13, l902, September 14, l922, and February 14, 1929, and others.
• "Susan C. Waters", by Colleen Cowles Heslip, in The Magazine Antiques, April, 1979. p. 769.
• Tappan-Sapulding Library Scrapbook.

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