Paul Revere was an American goldsmith, engraver and patriot in the American Revolution. He is best known for alerting the Colonial militia to the approach of British forces before the Battle of Lexington and Concord in April 1775, as dramatized in Henry Wadsworth Longfellow's poem, “The Midnight Ride of Paul Revere.” But prior to his famous ride, Revere was already a prominent citizen of Boston. Trained as a goldsmith – a term that in the 18th century meant someone who was trained to work with all types of precious of metals – he had to take over the family business at 19 when his father died suddenly, making bowls, silver tea sets, flatware and other utensils. In order to supplement his income, he also created engravings, such as cartoons and bookplates, and dabbled in dentistry. Revere was always involved in public life, both as a member of the militia and through his membership in the Freemasons and the Sons of Liberty. His involvement grew over time, as he participated in the Boston Tea Party, spied on British soldiers and played a critical role in the start of the American Revolution. Although he served briefly in the militia, his talents were better suited to commerce. Revere became an industrialist, operating a hardware store and a foundry, as well as opening a copper-rolling mill that supplied to the navy. He also continued to play a part in public life, and was known for his charitable contributions, which included serving as the first president of the Boston Board of Health. This portrait, done in 1883, is a copy of Gilbert Stuart’s (1755-1828) 1813 original, which hangs in the Museum of Fine Arts, Boston, and depicts Revere near the end of his life.
Jane E. Bartlett (1839-1923) was born in Harmony, Maine and was a student of famous late-nineteenth century portraitist William Morris Hunt. Her work demonstrates a similar spontaneity, simplicity and respect for the subject as that of her teacher. Although little is known about Bartlett’s life, she is thought to have mainly lived and worked in Boston. In 1907, she was commissioned by the Kansas State Agricultural College to paint portraits of its college presidents. Bartlett was also part of the growing trend in the 1800s of women artists gaining notice by participating in leading exhibitions – she showed two paintings at the Philadelphia Centennial Exhibition in 1876 and placed three portraits in a loan exhibition held at the Museum of Fine Arts, Boston in 1880.