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46  LIVING AMERICAN ARTISTS.

in the University Building, where he painted "A Toper Asleep," a gift for his brother, another landscape and cabinet portraits of his parents. His mother was an invalid at this time. "Her walks to my studio," says the artist, touchingly, "were among the last she took."

In 1836 he opened a studio, and modest, yet full of faith, began in earnest the painter's life. He painted landscapes, chiefly, for two years, when a portrait of his father bending over a book attracted considerable attention and brought sitters to his studio. He now turned his attention almost exclusively for a time to portrait painting.

In 1839 he sailed for Europe, where he studied assiduously; painting several subjects in Florence and Rome, afterwards engraved and purchased on his return at handsome prices. In 1840 he was again in New York, and found ample employment at portrait painting. His first important compositions after his return were "Mercy's Dream" and "Christiana and her Children," both of which are still highly prized. About this time Mr. A. M. Cozzens called at the studio and purchased "The Shepherd's Boy," painted in Rome. Mr. Cozzens was an appreciative patron; not only did he give of his own purse to the young artist, but induced his friend Ed. Carey of Philadelphia to become his patron also. Mr. Carey bought generously. "A warm sympathy thus began," says the artist, "between Mr. Cozzens and myself, and I attribute much of my success in life to his generous friendship."

The success of Huntington as an artist was now assured. His compositions when placed on exhibition at the Academy were warmly received, and commissions for portraits came to him faster than he could execute them. In 1842 e married Sophia Richards of Brooklyn, and soon after went to Europe for the second time. When abroad he executed several profitable commissions. During his stay in Europe he was elected a National Academician. This was in 1844. In 1845 he was again at home and at work, and during the three following years painted several of his best pictures,among them "Almsgiving," "A Lesson of Charity," and "The Marys at the Sepulchre."

In 1848 his works, at the request of some forty of the most prominent artists and literary men of that day, were placed on public exhibition at the Art Union Buildings, 497 Broadway, where they were visited by many thousands of our citizens. The paintings thus exhibited, and of which the catalogue is now before us, numbered no less than one hundred and fifty. This catalogue, by the by, is very interesting in itself. It was compiled by the artist, and is replete with valuable and not unfrequently witty comments.

In 1851 he visited England, and there painted the portraits of several distinguished men, among them those of the Archbishop of Canterbury, Sir Charles Eastlake, President of the Royal Academy, and the Earl of Carlisle. He also painted while there several figure subjects—compositions. Thence he went once more to Paris, where he painted "The Good Samaritan" for Mr. Marshall O. Roberts, the well-known amateur of this city; and "The Sketcher," for the Graham  Institute of Brooklyn.

Touching this painting of "The Good Samaritan," the following incident, related by Huntington, is characteristic: "Before I left New York Mr. Roberts called and said, 'Paint me something while you are in Europe.' I expressed great pleasure, and inquired about size and subject. These were hinted at only. 'And about what amount of money?' I asked. 'About one thousand dollars, not much over that,' was the reply. After beginning the picture in Paris, I wrote to Mr. Roberts, describing the work, and adding, 'May I draw on you for two or three hundred dollars now and then, if I need them, as the work progresses?' The return mail brought a draft for 1,500 dollars."

Whilst in London, Huntington studied for some time at the Kensington Life Academy—a private society of which Mulready, J. Philip, Frith, O'Neal, Barlow, Holman Hunt and others were members. During this stay in Europe, which lasted until 1858, he painted several of his most important pictures. Among these were "Ichabod Crane and Katrina Van Tassel," for Mr. Wm. H. Osborne, of New York; "The Counterfeit Note," for Mr. Oliphant, and another "Mercy's Dream,"