CIRCUS RIDER now at Amazon.com

CIRCUS RIDER at Amazon.com

excerpt from CIRCUS RIDER - Introduction

from CIRCUS RIDER, a novel history by Peter Breschard copyright 2010

INTRODUCTORY NOTE

When the original manuscript of CIRCUS RIDER arrived at our workplace, my staff and I were decidedly cautious. In the course of an ordinary week, we encounter numerous historical novels based upon an author’s ancestors and the allegedly amazing, wonderfully wicked, emotionally engaging events which may or may not have occurred. Under usual circumstances, these failures at both history and fiction are rapidly rejected by our editorial process.

So, I am sure you are asking, what is the difference between this volume and the thousands of others which attempt to illuminate long forgotten historical events? I shall explain.

Of the prodigious number of painters the United States has produced since its inception more than two centuries ago, Gilbert Stuart rises head and shoulders above them all. Not only is Stuart acclaimed for his artistic talents, but many of those he chose as his subjects have escaped time’s voracious grasp and managed not to disappear from memory. Their faces are now icons of our nation’s history. Portraits of George Washington, Thomas Jefferson and John Adams are among the many images Gilbert Stuart created which will linger forever in the American consciousness.

What do Gilbert Stuart and the rest of early American history have to do with the following pages? In 1808, while plying his trade in Boston, Massachusetts, Stuart was approached to immortalize one half of the most famous duo of entertainers ever to perform in these newly minted, and united, States.

Jean Breschard and his partner, Victor Pépin, were highly acclaimed equestrian performers from the world renowned Paris circus of Monsieur Franconi. As had become circus tradition, Breschard and Pépin, having achieved sufficient recognition and experience under M. Franconi, launched their own troop. After two extraordinarily well received seasons in Spain’s capital, Madrid, the Circus of Pépin and Breschard sailed to North America where entertainers of their stature and professionalism never had previously performed.

Stuart’s likeness of Breschard remains incomplete, much like his most famous portrait of George Washington (reference any one dollar bill). When this Boston portrait painter presumed there would be some future demand for original oil copies (which he created himself) of any particular painting, he would leave the background unfinished as a detailed setting was unnecessary to facilitate reproductions. One can only suppose that this great American master foresaw an audience for copies of the Breschard portrait which might well have rivaled that for his most popular work, the portrait of the father of these United States, George Washington.

Fortunately, the story of George Washington has not been lost or intentionally mislaid, which is more than can be said for the history of Jean Breschard. What follows in these pages is the story of a great American portrait by America’s greatest artist. It is a tale of art, war, pirates, politicians, the new frontier; and all the other ingredients necessary for the stew which was this novel democracy. As well as, of course, the circus.

With considerable trepidation, the editorial board and I have left the ordering of chapters as they were when we originally received the manuscript. The author of this work, not the most loquacious of correspondents, has informed us this arrangement represents the progression in which this history was rediscovered and recreated. Although certain readers might experience a minor dose of literary vertigo as they attempt to follow the non-traditional time line, we hope the clientele of this carnival ride will suffer no severe injuries. Fortunately, with fiction, certain liberties may be taken regarding the ebb and flow of chronicled events. Unfortunately, with history; with reputable history; events are best related as they actually occurred. CIRCUS RIDER being a novel history, we elected to follow the less chosen path.

Gilbert Stuart’s portraits immortalize many of America’s most notable players. This is the story of one of them, and of how he was lost, and now he is found.

Walter L. White
New York, NY
2010

from CIRCUS RIDER by Peter Breschard copyright 2010

now available at www.circusrider.org

THE FIRST AMERICAN CIRCUS

CIRCUS RIDER

a novel history of the first American circus

and a great American portrait

 now available in the United States

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THE FIRST AMERICAN CIRCUS

John Bill Ricketts introduced the modern circus to the United States in 1793. His first North American shows were in Philadelphia, Pennsylvania, where, among others, he entertained George Washington. Everyone’s best guess is that Ricketts was either an Englishman or a Scot. There is some debate regarding his nation of origin. John Bill Ricketts never settled in America and was last reported sailing away to either Europe or the Caribbean in 1799.

In 1807, embarking from Madrid, Victor Pepin and Jean Baptiste Breschard brought their circus to the Commonwealth of Massachusetts (sometimes recognized as being part of the United States). Breschard was a Frenchman and Pepin was born in the Empire State, New York.

Ricketts’ Circus and The Circus of Pepin and Breschard were the first two major circus companies to play in North America, specifically in what had recently become the United States of America.

This November PBS will dedicate six hours of national broadcasting to their documentary, CIRCUS. Undoubtedly, some questions regarding the origins of the circus in the United States will be raised.

(Disclaimer: similarities in name between this article’s author and any mentioned subject are duly noted.)

Over the years, John Bill Ricketts has been described by many writers, many times, as operating and headlining the first American circus.

“The first American circus?” What do they mean by that?

Is there an “American” style circus which was created by Ricketts?

No, they’re not talking about an American style of circus. The modern circus, of which John Bill’s company was a fine example, is as European as it gets.

Was John Bill an American who ran a circus?

Nope. (See above.)

What circus historians (say what?) have been trying to say for years isn’t that John Bill Ricketts ran the first American circus. What they’ve been trying to say is that JBR operated the first circus in America (specifically within the U.S.A.).

When Enrico Caruso performed in the United States, he didn’t become an American tenor. Ricketts’ Circus remained a British circus performing in America just like Enrico remained an Italian tenor even though he might have been belting it out within the continental U.S. at the time..

Now who exactly is responsible for the first American circus? (Have I already tipped my hand?)

Since it has been established that there is no particular American style of circus (rodeo?), the first circus operated by (owned and starring) an American (U.S.A.) would probably be “the first American circus”.

Hello, Victor Pepin.

What’s led to a bit of confusion among circus historians is that the Circus of Pepin and Breschard is documented as having played in Madrid, Spain, immediately before its arrival in the Bay State. Circus historians have referred to P & B’s troupe as being a French circus, a Spanish circus, and a European company. My guess is that it has been perhaps too hard for all-American writers to realize that a guy with a French surname (Pepin) could have been a creator of the first American circus.

The Circus of Pepin and Breschard - The First American Circus

Anybody want some Freedom Fries?
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From the Circus History Message Board

CIRCUS RIDER

a novel history of the first American circus

and a great American portrait

now available in the United States

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(for Breschard/Ricketts Gilbert Stuart posts, click the "Gilbert Stuart's Circus Rider" link on the upper right hand corner of this page)

27 Jan 2010 - Among the earliest of photographic portraits of circus people are several images of animal presenter Jacob Driesbach. A long-time collector that owned one of them saw fit to bestow an identification of Isaac A. Van Amburgh upon it, having no knowledge of the actual sitter other than his general notoriety. There is no evidence at hand to confirm that Van Amburgh ever sat for a photographer.

The late Stuart Thayer had descriptions of both Driesbach and Van Amburgh. He even found a newspaper reference for the session when and where Driesbach was photographed. Thayer advanced a strong case for his Driesbach identification. Despite overwhelming evidence, others interested in photographic materials refused to accept his findings for fear of alienating the collector.

Thus, the earliest prominent portrait of an American circus owner, as well as some of the earliest photographic portraits of a circus performer are both challenged in their identification. Even with a sound argument at hand, it is often impossible to alter an entrenched mentality until a generational change takes place. Truth falls victim to allegiance, for a variety of reasons, especially in the public eye. Good luck with your establishment of the Breschard identity for the Gilbert Stuart portrait. Fred Dahlinger 

http://www.circushistory.org/Query.htm#3227

Fred Dahlinger is an extremely well respected circus historian.

Generational change does not necessarily need move at a glacial pace.

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Inscriptions on Breschard, the Circus Rider, not by Gilbert Stuart

There  appears to be a good deal of confusion about the two inscriptions at the bottom corners of this painting. As has been shown by the National Gallery of Art, these two inscriptions were placed on the canvas years after the work was completed. The guesses as to what the names may be are both many and confusing. They were not added by Gilbert Stuart but by someone unknown which is what is meant by "later hand". The names are neither Ricketts nor Breschard. Not even the NGA uses these signatures to indicate who the actual sitter is.

http://www.nga.gov/fcgi-bin/tinfo_f?object=3160&detail=ins

from the NGA

Inscription

in a later hand, lower left: Portrait of / Mr Rickarts / Horse Equestraine [sic] / Friend of the artist / Gilbert Stuart; in a later hand, lower right: Portrait of Rickarts / Horse Equestrian / An Intimate Friend of / Gilbert Stuarts

These indecipherable inscriptions, added long after the painting was completed by someone other than Gilbert Stuart, are useless in deciding who was the sitter for this portrait.
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Breschard or Ricketts? One reason why this matters

One of the most important functions of any government is the education of children. A  major part of the National Gallery of Art's brief is to aid in the development of America's next generation of citizens. When the government starts disseminating incorrect information to children, and this error is discovered, immediate action should be taken.

Now one might think that Stuart's portrait of a Circus Rider is a small thing. One painting out of hundreds of Stuarts out there. What's the big deal?

follow this link: National Gallery of Art - Gilbert Stuart for Kids

This is the NGA own childrens' guide to Gilbert Stuart. The first painting selected is obvious, The Skater. But the second? Even before the portrait of George Washington! Before the founder of this country! Before Adams, Jefferson, Madison and Monroe! Why it's Breschard, the Circus Rider. Amazing. Before George Washington is Jean Baptiste Breschard, the Circus Rider, Circus Owner, Theatrical Impresario, and a major donor to the first public school in New York City. And, look, there's the story of how Jefferson and Lafayette attended the opening of the Walnut Street Theatre with Breschard. Read it yourself. It's right there in the guide for children.

But wait. That's not the story that's there. And the NGA says that the portrait is of somebody named Ricketts, not Breschard. Instead they tell a story of John Bill Ricketts and George Washington. Probably a true story but it has nothing to do with this painting. It's simply a convenient story which the NGA thinks is as good as any to tell children. The facts of the story may be true, but the reason for it being told isn't factual.

It's not right for the National Gallery of art to spread misinformation to children. Or is it?
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Another Gilbert Stuart Lost Painting

In my most recent book, CIRCUS RIDER; a novel history of the first American circus, the identity of the sitter for a Gilbert Stuart portrait is an object of debate. The two contenders for who’s who in this piece of early American art history are John Bill Ricketts, an Englishman who brought the first circus to the United States in the 1790s; and Jean Baptiste Breschard, who with his partner, Victor Pépin, captivated the newly liberated colonists with their performances from 1807 until 1815. Traveling a seasonal circuit including New York, Philadelphia, Richmond, Boston and Charleston; Breschard, a Frenchman, and Pépin, a native New Yorker, entertained Americans at their permanent circus theatres with years of sold-out performances including equestrian shows, circus acts, classical drama, melodramas, comic plays, hippodrama and lots, lots, more!

In 1970 the National Gallery of Art renamed this portrait “John Bill Ricketts,” disregarding the definitive 1879 identification of the sitter as Jean B. Breschard by George C. Mason (author of The Life and Works of Gilbert Stuart), George Washington Riggs (known as “The President’s Banker” and a founder of the Corcoran Museum of Art) and the Museum of Fine Arts, Boston. Mason’s book and the Boston Museum’s exhibition weren’t sufficient evidence for the NGA. Living witnesses to Breschard’s performances weren’t enough. Instead they turned to a small note by T. Allston Brown, a gentleman with a reputation for inaccuracy, and changed the name of Stuart’s painting from "Breschard, the Circus Rider" to "John Bill Ricketts."

The entire NGA identification rests upon unsupported statements by T. Allston Brown as to who owned the portrait previous to George Washington Riggs. According to Brown the last owner before Mr. Riggs was a certain Peter Grain, a Frenchman and artist. This is the NGA provenance and primary reason for changing the identification. http://www.nga.gov/fcgi-bin/tinfo_f?object=3160&detail=prov

Oddly enough Peter Grain’s son, Peter Grain, Junior, spent most of his professional career working as a scenic director at the Walnut Street Theatre in Philadelphia which was built by Pépin and Breschard. If someone could show that Peter Grain, the elder, was a member of the Circus of Pépin and Breschard, it certainly would go a long way to discrediting the NGA provenance based on the words of T. Allston Brown (This was a man who could publish six factual mistakes within a single paragraph. See my January 8, 2010 blog post. ).

By request of Beth Ahrens-Kley who publishes a Gilbert Stuart blog and is currently researching this particular debate, what follows is fairly definitive proof that Peter Grain was a member of the Circus of Pépin and Breschard. Peter Grain would certainly be capable of identifying his old boss, Jean Baptiste Breschard and passing this information along to George Washington Riggs. This should put an end to any justification for the current NGA stand that the portrait is of Ricketts. Any reasonable institution should once again identify the portrait as Breschard, the Circus Rider.

An 1809 advertisement for the Circus of Pépin and Breschard in New York

 

“This Evening, Aug. 2, 1809, Messrs. Pepin, & Breschard, will have the honor to give a brilliant representation of Horsemanship, Vaulting and Dancing.

To which will be added for the first time the New Pantomime of BILLY, or the Reward of a Good Action, performed with combats, &c. by Mr. P. Grain”

and now from the Walnut Street Theatre

 follow this link: Stuart portrait identified as Breschard

This is  only the beginning. It's time to bring back this forgotten piece of history.

CIRCUS RIDER

a novel history of the first American circus

and a great Gilbert Stuart American portrait

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Bad history

Just for fun I decided to revisit the work of T. Allston Brown, who the National Gallery of Art depends upon greatly for their provenance.

from T. Allston Brown's History of the American Stage, 1870 (nine years after the citation used by the NGA)

Peppin and Burschard. - Peppin and Burschard, with a French Circus, landed in Boston in 1806, from Spain. They performed in conjunction with West, at Philadelphia. Peppin built the Walnut Street Theatre. Peppin had a thorough military education. He was an officer in the cavalry of France. He was born in Albany. His parents were French. They left Albany for Paris when Peppin was two years of age.

http://www.circushistory.org/History/Brown.htm#P

Aside from not knowing how to spell Pépin or Breschard, getting the year they arrived in the USA wrong, 1807 not 1806, Pépin and Breschard together not ever working with West, both Pépin and Breschard building the Walnut Street Theatre in Philadelphia, not Pépin alone, and Mrs. Pépin having never gone to France, I guess the rest of his piece is correct.

For someone who is relied upon as a source for the Smithsonian, getting six facts wrong out of a possible ten is a poor, poor performance.

This is the author the NGA uses to negate Mason, Riggs, and the Museum of Fine Arts, Boston.

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More governmental errors

(The following is  in reply to an inquiry.)

As has been mentioned, Peter Grain worked in the Circus of Pépin and Breschard. At the moment I’m looking at an image of an 1809 newspaper notice. P. Grain’s drama “Billy” is advertised by Pépin and Breschard and Grain has the leading role. Grain was a member of the company for at least a year. Having worked with Jean Breschard, I feel comfortable in assuming Grain would be capable of recognizing a portrait of his former boss.

You should look into exactly who George Washing Riggs was. Among other things he was probably the richest man in the United States during his time, an advisor to Presidents, and one of the founders of the most prestigious Corcoran Gallery of Art in Washington, D.C. It was he who identified the sitter to Mason. In my files is a copy of a handwritten note from Riggs to Mason identifying the portrait as being that of Breschard.

Pépin and Breschard were the premiere performers in the U.S. from 1808 until 1815. (Very few people in this country can name the most popular performers of any decade during the 19th century.) Calling either of them a minor circus equestrian shows poor scholarship on someone’s part. Some research into historical newspapers will prove an education on this point. The NGA has been professionally negligent about this.

Ricketts’s brother being the first owner of this particular painting is a misreading of an extremely dubious source. This attribution is at best a rumor and at worst, well, never mind. This is by far the weakest part of the NGA provenance and does not rise to meet any academic standard.

When someone is in the entertainment business, there are numerous reasons why one would wish their portrait painted.

M indicates that Ricketts left for the West Indies before the painting was finished. This is without any factual basis. A Mr. C at the NGA had serious doubts about the Ricketts ID in the late 60s (I’d have to look at my notes for a more precise date), his research into the identification was a bit shallow since, I believe, the NGA is basically more interested in the portrait being by Stuart than in exactly who the sitter is.

Breschard, the Circus Rider by Gilbert Stuart

In 2004, thanks to the wonders of Google, a portrait of Jean Baptiste Breschard by Gilbert Stuart became known to me. Having only discovered the existence of this historical Breschard a few years previous, I was intrigued. Unfortunately, the name of this particular painting was no longer “Breschard, the Circus Rider,” the sitter was now designated as “John Bill Ricketts,” the portrait's identification being changed by the National Gallery of Art sometime in the 1970s.

After having completed a great deal of research and having read pertinent parts of the NGA archive, I became convinced by the existing evidence that in all probability the portrait by Gilbert Stuart was indeed that of Jean Baptiste Casmiere Breschard.

So I wrote a book about the man, the circus, the artist, the painting, the NGA, etc.. I’m presently in the process of having it published.

The main reason I’m writing this is due to the fact that another student of Stuart has come across the controversy and is using some of the entries I’ve helped edit in Wikipedia as sources for posts to her blog. All I can say is that like all encyclopedias, Wikipedia doesn’t contain all the facts, and if I can be of any help, let me know.