I would bet £10 that you couldn’t name the richest, most
famous painter of the mid-19th century. And another £10 that you
haven’t seen any of his works. Let’s return to panoramas, which I touched on
here.
When Daniel Banvard, a building contractor from New York, suffered a
stroke, his ‘indiscrete’ business partner ran off with the company assets.
Daniel died shortly afterwards, leaving his family bankrupt and homeless. His
fifteen-year-old son, John, left for Kentucky, finding work where he could and
barely surviving. He painted scenery for a travelling theatre company on a
showboat, sold some panoramic paintings and got by as an itinerant dry-goods
trader. John worked his way to the Mississippi river, where he invested what
little money he had on a small skiff and began his ambition to paint a grand
panorama of the river. Over the next two years he worked on his painting and
hawked whatever would sell up and down the river to fund himself. He devised,
and patented, a tracked system of grommets that kept his painting from sagging,
and eventually, in June 1846, he was ready to display his magnificent,
completed panorama. He rented a hall in Louisville, advertised in the local
newspaper, and prepared his entertainment. On his opening night, no one came.
John Banvard |
Banvard handed out free tickets to the river-boat crews, on the understanding
that they recommended his performance to their passengers. Slowly, word began
to spread and audiences began to swell. He added more sections to the painting
and embellished his narrative, telling tall tales of brigands, shipwrecks and
pirates, extending the whole show to over two hours. The fifty cents per head
entry money began to pour in, and John moved his ‘Three Mile Painting’ to the
big city, opening in Boston’s Armory Hall with creative lighting, piano
accompaniment and a hidden crank mechanism. It was an immediate success. In the
next few months over a quarter of a million people came to the performance,
including state representatives, politicians and Boston’s intellectual elite. Banvard
wrote a book and published sheet music of his Mississippi waltzes, adding to
his fortune.
Title Page of Banvard's Panorama |
With over $100,000 in profits, the show moved on to New York and
greater acclaim and riches. In 1848, Banvard headed for Europe, travelling
across England before opening at London’s Egyptian Hall. In the next twenty
months over 600,000 people saw the ‘Three Mile Painting’, including a command
performance at Windsor Castle for Queen Victoria and her court. Banvard went
back to the studio, painted another version of the Mississippi, contracted out
his London show, and went on tour with his new painting. In 1852, he returned
to America, with an enormous fortune. He bought a 60-acre plot on Long Island
and began to build a replica of Windsor Castle there, which he called Glenada,
after his daughter Ada, and which locals called ‘Banvard’s Folly’.
Press Testimonials of Banvard's Panorama |
The castle
housed Banvard’s growing collection of antiquities and curiosities, and Banvard
used his phenomenal wealth to build a museum in Manhattan, a colossal
forty-thousand-square-foot building, in direct competition to P T Barnham’s
nearby museum. Unfortunately, Banvard did not register his business or stocks
with New York state, and the share certificates he issued to pay contractors
and investors were worthless. Barnham was far too shrewd a showman for Banvard
to cross, and he out-did Banvard at every turn. In a mere ten weeks Banvard’s
museum was forced to close – he tried to reopen it as an opera house, but the
damage had been done. Banvard had outstretched himself, his attempts with
plays, concerts and entertainments all failed, and his quickly-made millions
began to disappear just as quickly. His reputation had been irreparably damaged
with the share certificate debacle, no one would invest or back his ventures,
and pursued by creditors, Banvard descended into penury. He tried to write his
way out of his difficulties, but when his works were exposed as plagarism his
reputation fell further. He moved to Watertown, now in South Dakota, lodging
with his wife in his son’s back room. He tried again with panoramas, but the
novelty of them had passed, and the frontier towns did not have sufficient
population to justify showing them. The richest, most famous artist of the
mid-19th century died penniless in 1891. His works were lost – some
in shipwrecks and fires, some cut into sections for theatrical backdrops, which
eventually wore out through constant touring, and some, it is rumoured,
shredded for insulation in the walls of Watertown’s buildings. A few small
panels remain, in minor American galleries, but that is all.
Banvard’s story features in Paul Collin’s wonderful book
Banvard’s Folly. A recommended read.
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