Kaeppler, Adrienne L.

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ADRIENNE L. KAEPPLERRembrandt Peale's HawaiianEthnographic Still LifeT H E IMPORTANCE OF Rembrandt Peale (1778-1860) to the artisticheritage of the United States has been demonstrated in recentyears through exhibitions, books, and essays—especially since thepurchase of his painting, Rubens Peale with a Geranium, by theNational of Gallery of Art in Washington, D.C., and the exhibi-tion, "In Pursuit of Fame," that opened at the Smithsonian Insti-tution's National Portrait Gallery on November 6, 1992. The pur-pose of this short essay is to bring to wider attention a paintingthat I attributed to Rembrandt Peale during my lecture for theSmithsonian Institution National Associate Program at BishopMuseum on February 16, 1990. The painting, which I characterizeas an "ethnographic still life," is a portrait of a young man wear-ing a Hawaiian feathered cloak and helmet (fig. 1) and is part ofthe visual collections of the Bishop Museum, Honolulu. Althoughthe painting is unsigned and undated, my research—based onpainting style and subject matter—indicates that it is by Rem-brandt Peale1 and probably dates to the late eighteenth or earlynineteenth century.This ethnographic still life focuses on Hawaiian chiefly regaliaand might be considered a companion piece to RembrandtPeale's 1801 botanical still life, Rubens Peale with a Geranium (fig. 2),which Wilmerding has characterized as "one great masterworkAdrienne L. Kaeppler is curator oj oceanic ethnology in the Department of Anthropology atthe Smithsonian Institution in Washington, D. C.The Hawaiian Journal of History, vol. 27(1993)227228 THE HAWAIIAN JOURNAL OF HISTORYFIG. I. Rembrandt Peak, Man in Hawaiian Regalia, ca. 1800, 76.2 x 63.2 cm. BishopMuseum, Honolulu. Bequest of Helene Irwin Fagan, 1966-67. (BPBM.). . . a singular work [that] would be an unsurpassed achievementfor Rembrandt and has remained one of the most original imagesin the history of American art."2 The two paintings are similar insize (Honolulu 76.2 x 63.2 cm; Washington 71 x 61 cm), both areportraits with the sitter's right hand grasping part of a still life,REMBRANDT PEALE S ETHNOGRAPHIC STILL LIFE 229FIG. 2. Rembrandt Peak, Rubens Peale with a Geranium, 1801, National Gallery of Art,Washington, D.C., 71 x 61 cm. (National Gallery of Art.)and together they illustrate both the ethnographic and natural his-tory emphases of the wide-ranging collections of Rembrandt'sfather, Charles Willson Peale (1741-1827), in whose museum theywere probably both painted. The paintings also illustrate Rem-brandt's artistic vision of the parallel importance of portraitureand science—found in many of the artistic works and museums ofthe Peale family. Finally, both works feature scientific "firsts"—23O THE HAWAIIAN JOURNAL OF HISTORYindividualized human subjects are illustrated with individualizednon-human subjects that were the first of their kind to beimported into America. As Wilmerding has noted, the geraniumwas the first (or one of the first) specimens of this species broughtto America.3 Similarly, the Hawaiian feathered cloak and helmetwere among the first of their kind to be imported to America. Justas the geranium is an "exemplum of botanical science,"4 thefeatherwork stands as an exemplum of ethnographic science. As apair, the paintings are even more "original" than Wilmerdingimagined.The "American Museum" of Charles Willson Peale was begunin 1784 and eventually included a wide variety of ethnographicspecimens, including a number of objects of American Indian ori-gin as well as objects from South America, the Pacific Islands,Africa, and China. Three Hawaiian feathered cloaks and helmetsare documented as part of Charles Willson Peale's collection. Theearliest was accessioned about 1790—a "War Cap and Cloak" offeathers. Another set came in 1791, and in March 1792 PresidentGeorge Washington gave Peale a third set,An Otahitian5 dress, consisting of a long cloak and a cap, made offeathers, and very elegant. Being a present to the President of theUnited States, by some gentlemen of Boston, adventurers in thefirst voyage made from thence to Nootka Sound, and the Otahi-tian Islands, now deposited in this Museum for preservation andsafe-keeping for the President.6All three sets of Hawaiian featherwork in the Peale Museum wereprobably collected on the voyage of the Columbia under CaptainGray that visited Hawai'i in 1789 and was the first American ves-sel to circumnavigate the globe.7The Hawaiian featherwork from the Columbia appears to be theearliest to have been imported into the United States,8 although anumber of pieces were taken to Europe by the earlier voyage ofCaptain James Cook.9 The pieces deposited by President Wash-ington would surely be appropriate examples to illustrate the eth-nographic "first" just as the geranium was a botanical "first"illustrated in the painting with Rubens. Considered as a pair,REMBRANDT PEALE S ETHNOGRAPHIC STILL LIFE 231these two paintings reveal Rembrandt's remarkable early talentfor raising still life to the more highly regarded genre of portraitpainting, and as depictions or symbols of "events," they mighteven have been considered in the highest-ranking category of his-tory paintings. If we could identify the sitter, an even strongercase might be made. At the same time, the pair of paintings ele-vate scientific illustration (an even lesser-ranked genre) to artisticstill life.Further, I want to speculate about a third painting, a self-portrait by Rembrandt holding in his right hand a mastodontooth—a zoological exemplum. This now overpainted canvas hasrevealed its secret through X-ray (fig. 3). Miller suggests that thispainting may have been meant as a companion piece to that ofRubens with a geranium for exhibition during the 1802-03 Lon-don showing of the mastodon excavated by the Peales in 1801.10The painting of Rembrandt with the mastodon tooth is again ofsimilar size (71.1 x 60.3 cm), and, in my view, may have completeda triptych illustrating three scientific "firsts" in Charles WillsonPeale's museum representative of ethnography, botany, andzoology.The composition of the featherwork painting, with the individ-ual facing to the left, is based on diagonal symmetry which con-trasts with the bilateral symmetry of the geranium painting, withRubens facing forward, making them a balanced artistic pair.And if my speculation that the three paintings form a triptych canbe continued, Rembrandt's self-portrait faces to the right, makingthem a balanced trio. An incongruous element in the Hawaiianpainting is the rather odd positioning of the darker brown handgrasping the wooden implement, as if the sitter were wearing aglove. The face and helmet have the same specific animated indi-viduality and three-dimensionality of the sitter and plant in thegeranium painting. Rembrandt, who had been trained in thechemical composition of pigment, already displays his excellentsense of color in the difficult reds of the Hawaiian featherworkshown off to their advantage on a nearly flat, dark background.However, the painting does not yet show the delicacy of shadingthat he learned in England after 1802.n The depiction of the 1792featherwork gifts of President Washington would have personal232 THE HAWAIIAN JOURNAL OF HISTORYFIG. 3. X-ray showing Self-Portra.it with Mastodon Tooth by Rembrandt Peale, 1803, underportrait of Sarah Franklin Bache, 71.1 x 60.3 cm. Private collection. (National Portrait Gal-lery, Smithsonian Institution.)meaning to Rembrandt as he and Washington shared the samebirthday, and Rembrandt painted his first portrait of Washingtonin 1795. It is a pity that Rembrandt did not depict the featherworkon Washington himself. I suggest that the painting was executedbetween 1792 (when the objects were presented to Charles WillsonREMBRANDT PEALE S ETHNOGRAPHIC STILL LIFE 233Peale) and 1802 (before Rembrandt went to England). An entry inan exhibition guide that seems to refer to the painting, "Portraitof a man dressed in the manner of a Otaheitan Chief Warrior," isdated to 1795.12The cloak and especially the helmet illustrated by Rembrandtare almost certainly two of the pieces depicted by Titian RamsayPeale (1799-1885) in a cultural vignette in his Day View of KilaueaVolcano (fig. 4 and 5). Although Titian saw the volcano in action in1840 while he served as naturalist on the U.S. Exploring Expedi-tion of 1838-42 and illustrated his scenes from life, feathered cloth-ing was not collected, and not even seen, during the expedition'svisits to Hawai'i. Like Rembrandt, Titian must have simplypainted the feathered regalia from objects in his father's museum—and, perhaps, from Rembrandt's painting. Titian's Hawaiianchief (fig. 4) wears the same feathered helmet, depicted from thesame view, as Rembrandt's earlier picture. Indeed, Titian'swhole volcano picture (fig. 5) is reminiscent of Rembrandt'spainting, Niagara Falls, A General View, 1831, complete with a cul-tural vignette (fig. 6). Except for the yellow spokes (which wouldhave changed the composition of Rembrandt's painting), the hel-met (fig. 7) is quite accurately illustrated by both Rembrandt andFIG. 4. Hawaiian ceremony at Kilauea volcano. Detail of fig. 5. (BPBM.)234 T H E HAWAIIAN JOURNAL OF HISTORYFIG. 5. Titian Ramsay Peale, Day View of Kilauea Volcano, 1842, 51.5 x 76.5 cm. BishopMuseum, Honolulu. Gift of Albert Rosenthal, 1924. (BPBM.)Titian. This type of helmet is very rare and there is little doubtthat the one depicted is the one now in the Peabody Museum,Harvard.13The incorporation of a non-Western art object into a Westernpainting genre illustrates how recontextualization can change themeaning and value of such an object. Originally worn by thehighest-ranking Hawaiian chiefs in sacred and dangerous situa-tions, featherwork protected the sacred top of the head and back-bone. This sacred clothing was a visual manifestation of socialrelationships among the gods, the stratified Hawaiian society, andthe universe. The helmet was not only a work of art, but a symbolof power. As a gift to President Washington, the helmet demon-strated the esteem of the Hawaiians for the highest ranking Amer-ican and presumably signaled an intent to enter into a politicalrelationship with him. The helmet's recontextualization into aWestern artwork, however, especially on an American who wasnot Washington, was surely an inappropriate representation.Ironically, if the helmet and the painting were sold on the openmarket today, the picture of the helmet would surely be assigned agreater monetary value than the helmet itself, revealing our twen-REMBRANDT PEALE S ETHNOGRAPHIC STILL LIFE 235FIG. 6. Rembrandt Peale, Niagara Falls, A General View, 1831, 47 x 61 cm. Lowe ArtMuseum, University of Miami, Coral Gables, Florida. Gift of Allan Gerdau. (Roland I.Unruh.)tieth-century value system that a painting by an important artistis somehow more important than the non-Western art object itdepicts.Rembrandt's Hawaiian ethnographic still life is part of the col-lection of the Bishop Museum, acquired in 1966-67 from theFagan Estate. At that time I was an anthropologist at the BishopMuseum and this painting always intrigued me—although it wasnever highly regarded in Hawai'i because it obviously did notdepict a Hawaiian. Although I recognized the similarity of thefeatherwork to the vignette in Titian Ramsay Peale's painting(also in Bishop Museum) and had done a great deal of work onmuseum collections of these objects—noting that the closest hel-met was in the Peabody Museum—I did not have the opportunityto pursue my research on the painting until I was working on theexhibition at the Smithsonian's Natural History Museum, "Mag-nificent Voyagers: The U.S. Exploring Expedition of 1838-1842."I had suspected that the painting was done by one of the Peales236 THE HAWAIIAN JOURNAL OF HISTORYFIG. 7. Hawaiian feathered helmet acquired on the 1789 visit of the Columbia. PeabodyMuseum of Archaeology and Ethnology, Harvard University. (Peabody Museum, Har-vard University.)but did not identify it as a Rembrandt Peale until I studied theexhibition on Rembrandt at the Historical Society of Pennsylva-nia in 1985.The history of the painting before 1966, however, is still elusive.Paul I. Fagan (1890-1960), an industrialist and philanthropist,appears to have moved to Hawai'i about 1930. He boughtKaeleku sugar plantation in 1944 to form Hana Ranch and the siteof Hotel Hana-Maui. His wife, Helene Fagan (1889-1966), wasthe daughter of a Hawai'i sugar and banking magnate and grewup in Hawai'i. The Fagans had a large house on Diamond HeadRoad in Waikiki. A frequent visitor to the house believes theREMBRANDT PEALE S ETHNOGRAPHIC STILL LIFE 237painting hung in the library, rather than the more frequented liv-ing room—which was embellished with paintings by Eskridge—and therefore was relatively unknown even to Hawai'i residents.Both Paul and Helene Fagan died in Hillsborough, California.Helene Fagan's cousin, Alice Spalding Bowen, the manager ofthe Honolulu branch of S. G. Gump and Co. of San Francisco,lived close to the Fagans' Diamond Head house. It is possible thatshe found the painting in San Francisco. Paul's son-in-law from aprevious marriage was an interior decorator in San Francisco, soit appears that a California connection is possible. As a definitivehistory of the pre-1966 travels of this painting is still to be discov-ered and the sitter has yet to be identified,14 I hope that this shortnote will generate some missing pieces as well as give this little-known painting the attention it so richly deserves.NOTES1 This has been confirmed on stylistic grounds by Lillian Miller and Carol Hev-ner (personal communication) and was included in the Smithsonian Institu-tion's 1992-93 exhibition on Rembrandt Peale. See Lillian B. Miller, In Pursuitof Fame, Rembrandt Peale 1778-1860, With an Essay on the Paintings of RembrandtPeale: Character and Conventions by Carol Eaton Hevner (Washington: NationalPortrait Gallery, Smithsonian Institution, in association with the U of Wash-ington P, Seattle and London, 1992) 257-58.2 John Wilmerding, "America's Young Masters Raphaelle, Rembrandt, andRubens," Raphaelle Peale Still Lifes (Washington: National Gallery of Art, 1988)72-91.3 Wilmerding, "America's Young Masters" 74.4 Wilmerding, "America's Young Masters" 755 In the eighteenth century "Otaheite" was the designation for all the Polyne-sian islands, including Hawai'i.6 Quoted in Charles Coleman Sellers, Mr. Peak's Museum (New York: W. W.Norton, 1980) 41-42.7 Two other cloaks (one long and one medium length) connected with this voy-age were given to Joseph Barrell, one of the owners of Columbia; were inher-ited by his daughter, Mrs. Benjamin Joy; were at one time in the Museum ofFine Arts, Boston; and are now in the Bishop Museum, Honolulu. SeeAdrienne L. Kaeppler, "Feather Cloaks, Ship Captains, and Lords," Occa-sional Papers of the Bernice P. Bishop Museum, 24.6(1970): 91-114.8 The next known import of a Hawaiian feathered helmet was donated byMajor Ladson to the Charleston Museum in 1798.238 THE HAWAIIAN JOURNAL OF HISTORY9 See Adrienne L. Kaeppler, "Artificial Curiosities," An Exposition of Native Manu-factures Collected on the Three Pacific Voyages of Captain James Cook, R.N. (Hono-lulu: Bishop Museum P, 1978).10 Miller, In Pursuit of Fame 58.11 Carol Eaton Hevner, "The Portraiture of Rembrandt Peale: Artistic Aspira-tions and Stylistic Changes," Rembrandt Peale 1778-1860: A Life in the Arts, ed.Carol Eaton Hevner and Lillian B. Miller (Philadelphia: Historical Society ofPennsylvania, 1985) 22.12 Miller, In Pursuit of Fame 42. Hevner, however, dates it to "circa 1805-1813."See Carol Eaton Hevner, "The Paintings of Rembrandt Peale: Character andConventions," In Pursuit of Fame 257-58.13 The helmet was part of a large purchase made by Moses Kimball and P. T.Barnum from the Peale estate in 1849-50. The helmet apparently went toKimball, who gave much of his collection to the Boston Museum in 1893, andit was transferred to the Peabody Museum of Archaeology and Ethnology in1899. See Sellers, Mr. Peale's Museum 312-23, and the accession records of thePeabody Museum. The only other helmet of this style known to me within theUnited States is the now featherless helmet in The Children's Museum ofIndianapolis; its history is unknown.14 Perhaps the sitter was another family member such as a cousin or even hisbrother, Raphaelle (1774-1825). Raphaelle was depicted by Charles WillsonPeale in The Staircase Group in 1795 as a more elegant, handsome young man,but Rembrandt was known for his more true likenesses of individuals. In anycase, there does seem to be at least a family resemblance.

Rembrandt Peale's Hawaiian Ethnographic Still Life

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Rembrandt Peale's Hawaiian Ethnographic Still Life

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