User:Linda Griggs

James Frazee ( 1790-1852) Born in Rahway, New Jersey, James Frazee started his career carving gravestones but became the first known, American born sculptor to carve a bust in marble and be given a commission from congress which until then had favored European sculptors. He went on to oversee the building of US Customs House in New York City (now a branch of the National Museum of the American Indian) contributing to its exterior ornamentation, oculus and interior dome. When he became dissatisfied with the American Academy of Art whose wealthy and conservative controllers discouraged young talent and limited access to art information, Frazee became one of the fifteen founders of the National Academy of Design, still active. He later became a candidate for the first political party representing labor, the Working Men’s Party. The “workies” advocated free public schooling, a shorter, ten hour work day, doing away with imprisonment for debt and other men’s suffrage issues. John Frazee escaped being sold into indenture as a child and was entirely self taught.

Public sculpture in New Jersey: monuments to collective identity By Meredith Arms Bzdak, Douglas Petersen pg 22 Frazee Memorial, 1832 John Frazee, sculptor Old School Baptist Cemetery, South River (Middlesex County) "This small, marble urn set on a marble base represents the work of one of the country's first professional sculptors, a New Jersey native born in Rahway in 1780. 1 John Frazee, known for his naturalistic marble portrait busts began his career as a mason's assistant craving tombstones in New Brunswick. While in New Brunswick, he was instrumental in developing musical groups in the Baptist and Episcopal churches there, composing music that was published in The New Brunswick Collection of Sacred Harmony. Frazee returned to Rahway after his marriage to Jane Probasco in 1813 to establish a stone- cutting business, and eventually opened a marble shop in New York City in 1818, where his primary efforts included the carving of tombstones and mantels. It was in 1832 that Frazee relocated to South River, then known as Little Washington. He left New York with hopes of escaping the cholera epidemic that was plaguing the city; however, his wife, the mother of ten children, died of the disease shortly after their move. Employing his talents as a funerary sculptor, the created a lasting tribute to his wife with carving of her tombstone in the shape of an urn. It's inscription reads, "To Jane, the Wife of my Youth, Aged 42 years, Aug. 16, 1832." The urn stands to the rear of what is today known as the War Memorial Building, formerly the Old School Baptist Church, erected in 1805 with additions circa 1862. The building was used as the South River Library during the early twentieth century, but presently houses municipal offices. While this small, essentially private work of an American master has not generated significant press during its existence, art historian W. Frederick Stohlman of Princeton University acknowledged in 1942 that "the monument is, in my opinion, a gem of classic beauty, honest, sincere and straight forward (sic) as was the character of the man. Seldom does one find as early as 1832 such purity of classic detail which is rendered all the more remarkable by the fact that Frazee was self taught."2 Stohlman so admired the work, in fact, that he erected an iron fence around the tiny monument at his own expense.3 Frazee went on to direct the building of the U.S. Custom House in New York City from 1834 to 1840, where it is assumed that he is responsible for much of the sculpture's sculptural ornamentation. In later years, he retired to Compton Mills, Rhode Island, living there with his daughter until his death in 1852" There's a contradiction in the birth dates and I'm not sure about the middle names: "BIOGRAPHICAL INFORMATION John Stark Frazee (1790-1854) worked as an sculptor and architect primarily in New York City. He is best known for his design of the New York Customs House and his busts of notable American public figures, including John Wells, John Jay, John Marshall, and Daniel Webster. Born in Rahway, New Jersey in 1790, Frazee began his career as a bricklayer. He lost a young son in 1815 and carved a memorial sculpture to commemorate his son's life. In 1818 he started a marble workshop in New York City specializing in memorials and grave markers. Sadly, many of Frazee's monuments were completed for deceased family members including his first wife Jane and several children. His reputation grew and he was well known for tasteful, simple, and well- executed memorials. Frazee began to receive private commissions for monuments and cenotaphs throughout New York. Frazee did not have formal training and developed a realistic style of carving that was heavily influenced by the neoclassical style. By the mid 1820s, Frazee began to receive public commissions to carve busts of famous Americans. His bust of John Wells is considered to be the first carved marble bust made by an American born sculptor. In 1831, he received a Congressional commission to sculpt a bust of John Jay. Later, Frazee sculpted busts of Chief Justice John Marshall, Daniel Webster and others for the Boston Athenaeum. After achieving considerable recognition for his sculpting abilities, President John Tyler appointed Frazee as the designer of the New York Customs House. He oversaw construction from 1834-1840. It is likely that Frazee created many of the decorative sculptural elements within the building as well. John Frazee died in 1854 in Rhode Island." http://www.aaa.si.edu/collections/john-frazee-papers-8913/more#biohist

From: Wade Kotter <wadekot...@yahoo.com> Linda: Charles Kaufman discusses John Frazee's contribution to the "The New Brunswick Collection" on pp. 133-136 of his "Music in New Jersey, 1655-1860": http://books.google.com/books?id=OHJB9FQIEsgC&q=john+frazee#v=snippet... In his discussion, Kaufman provides the following quote from Frazee's autobiography: "in 1817 [I] assisted in compiling the First Edition of "The New Brunswick Collection of Sacred Harmony" and furnished some original compositions of my own for that work" His name is listed on the title page as one of the compilers, but was dropped by the third edition of 1822. Kaufman states that Frazee lived from 1790-1852. This agrees with several other sources I found. So the book you cite first is probably incorrect about the birth year and the website you cite second is probably incorrect about the death year. Go figure. Regardless, we know from the title page of the 1817 that Frazee was involved in compiling "The New Brunswick Collection" and, based on his autobiography, contributed some tunes. But according to Temperley's hymn tune index, only one tune is attributed to Frazee in the 1817 1st edition. It is called IONIC and was retained in the 2nd edition. These are the only two printings of this tune prior to 1821. There are several unattributed tunes in the 1st and 2nd editions, so I guess it's possible that Frazee wrote one or more of these. But from the looks of it, I suspect Frazee's contribution to this collection was pretty limited. Perhaps someone with a later edition of this collection can tell us if it was retained after 1821.

The history of American sculpture By Lorado Taft With such a childhood as had been his, it is not strange that the young man felt the lack of education. "Reading,writing, and the first rules of arithmetic were the whole of his learning." Despite the fatigue of his daily work as a mason and sometimes now as a stone- cutter, he set resolutely to "improve himself in useful knowledge." In this praiseworthy pursuit he was aided by a kind gentleman of culture, to whom he remained "unalterably attached." His position as pupil seems to have been exchanged subsequently for that of instructor, for we read father on that, "The first years of freedom passed bricklaying in summer, making headstones in winter, an in the evenings teaching psalmody."

The entry for John Frazee in the "Dictionary of American Biography" (DAB) doesn't mention his work on the NBC, but it does include that following about his time as an apprentice bricklayer and mason in the household of William Lawrence: "Among his master's few books were two on 'sacred harmony,' from which he soon learned enough to become chorister of the Presbyterian Church in Rahway, and to teach psalmody in the season." This was prior to his move to New Brunswick in 1810. He moved to New York in 1818 where he opened a marble shop with his brother William. According to the DAB, Frazee's autobiography was published in the April and July 1835 issues of the "North American Quarterly Magazine" (perhaps the newspaper reference I mentioned earlier is a reprint or publication announcement." The DAP also references a biographical sketch of Frazee published by Wm. Dunlap in his 1834 "History of the Rise and Progress of the Arts of Design in the U.S." This information comes from vol. 7 of the 1931 edition of the DAB. I think we're getting pretty close to confirmation that John Frazee the sculptor is the same as John Frazee the sometimes compiler and singing school teacher. Wade Kotter

Autobiography: John Frazee, 1st American sculptor, b. 1790, Rahway, N. J. From Marsh papers, New Jersey historical society, Newark, N.J. According to another Google Books reference, Frazee's autobiography was first published in "The New York and Richmond County Free Press" in 1835. I assume, but cannot verify, that this is the autobiography referred to by Kaufman. I'm going to check the New Jersey Historical Society website and see if I can find any more information. Also, on p. 133 Kaufman cites an advertisement by John Frazee in "The New Brunswick Freedonian" dated October 19, 1815 announcing a singing school; he also claims to have "the best selection of music, of the latest publications; comprising the most celebrated pieces of the first masters of Europe." Wade Kotter

John Frazee, "The Autobiography of Frazee, the Sculptor," North American Quarterly Magazine 5 (April 1835): 395-403; 6 (July 1835): 1-22. Also, only vol. 1 of Dunlap's "History of the Rise and Progress of the Arts of Design in the U.S." is available on Google Books. Since Frazee is not mentioned in vol. 1, I can only assume that he is mentioned in vol. 2, which I don't have access to. Wade Kotter

"The 

Autobiography of Frazee, the Sculptor", North American Quarterly Magazine, 5 (April 1835): 395-403; 6 (July 1835): 1-22 http://books.google.com/books?id=G6zQAAAAMAAJ&pg=PA412&dq=%22north+am... The only books in the house of my grandfather, while I lived there, were the Bible, Whitfield's Sermons, Watt's Psalms and Hymns, and Lyric Poems, a book entitled Dissertations on the Prophecies, Noah Webster's Spelling Book, the New England Primer and Cock Robin -- the three last named were mine. My Boss had the Bible, Watt's Psalms and Hymns, Shumway's Sacred Harmony, Jenk's ditto, Charlotte Temple and Robinson Crusoe.

  There are, I admit, some good books in the above list, which 

comprised all my studies in the book way until after I was twentyone. One thing about it is, I perused them well, over and over again.The Bible made me religious, Whitfield taught me eloquence, and Watt's inspired me with the Muse. Charlotte Temple caused the tear to roll from my cheek, while Crusoe made me laugh. But Shumway and Jenks were my greatest favorites. In them I first learned the elements of music, in which I had early evinced a natural and happy talent, and had delighted many an ear with my voice in song long before I became acquainted with Shumway. But I was most fond of Sacred Music, and now I soon learned to sing correctly, by rule, those Church pieces which I had previously, though imperfectly leant by ear. In the proper place I shall have occasion to say something of more interest relative to my vocal powers. pg. 398-399 THis ends with page 403!!!!!!!!!!! PART TWO (Thank you to Barbara Swetman) About this time my proficiency in vocal music began to attract notice, particularly in psalmody, in which department I had risen above my contemporaries in the village singing schools. -- Not that their voices were deficient in melody and power: but they wanted the energy and patience necessary to cultivating these properties, and improving their taste. They were too careless, -- too indolent to pursue the elementary studies, without a thorough knowledge of which, no one, however great his talents, will be able to sing well, especially before a public audience. At the age of seventeen, I could read music with ease and fluency, and had also extended my studies into the nature and philosophy of composition. Before I reached eighteen, I was solicited to take the part of chorister in the Presbyterian Church at Rahway. Until this period, there were several who officiated in this office, and among them my eldest brother and uncle, both good singers. I now supplied their place until about three years after I became of age, when, with a young family, I removed to New Brunswick. -- But I run ahead of my narrative. pg 2 In the fall, the young folks of Rahway established a singing school, and I was chosen their instructor for the term of three months, at a dollar for each pupil. There was a boarding a this time with my old boss, a young man from Connecticut, named Robert Wilson, with whom I had, in the course of the summer, become intimate. Wilson had received a very fair education. He was at this time the instructor of the village school at Rahway; he was also a teacher of sacred music, and had, during the preceding winter, conducted a singing school in an adjoining neighborhood. Finding that I was likely to have a large school made up, and as room sufficiently large, in a public house, could not be obtained at a reasonable rent, I proposed to Wilson that if he would make no charge for his schoolroom, and would agree to appropriate it one night the week for the sing ing school, I would, if he thought well of it, make him a partner with me in teaching the school, and divide the proceeds with him equally. He very cheerfully fell in with my proposition, and our school opened quite auspiciously. Besides the singing school, I pushed my enterprise into several other undertakings. With respect to the chisel and monuments,...pg. 6 Meantime, my singing school with Wilson went along very smoothly and melodiously; and how like a balm to the soul, after its gloomy meditations through the day over the tombstone adn epitaph, how grateful and refreshing was it at evening to meet in concert, and lift up one's voice in the songs of Zion and Redeeming Love! pg. 8 The next fall, I was engaged to teach a singing school again in Rahway, and another at a place called Barnet's Mills, near Wesfield. I took great pleasure in teaching sacred music; and, as it employed my evening time only, it cost me very little, while it gave me some thirty or forty dollars per quarter, from each school, which, in those pressing times, was a very great help to me. I have said that Dr. Watts inspired me with the muse, while I dwelt with my grandmother -- not through his tame versions of King David, for in those he has abused the sacred psalmist, by neutralizing, with his conventional metres and silly rhymings, the sublimity and poetic beauty of those divine compositions. It was his lyric poems, (said to be written when Watts was either lovesick or crazy,) that tickled my ear for poetry when I was young. There was in some of these pieces, a sweet and touching wildness that I loved; and often, when strolling alone by the rivers and solitary places, I have sat down upon the grass, or a hoary stone, and composed lines on the scenery around me -- the wondrous works of God -- in imitation of Watt's lyric style. When I had put my crude ideas into measure, and arranged two or three stanzas in my mind, I would then, if they sounded well to my ear, write them out and submit them to my mother for inspection, as I always valued her opinion above that of any other, on the subjects of poetry and music. pg 9 after the "peace of 1816" My vocal powers, too, were of some benefit to me in a pecuniary way; besides their tendency to introduce me more immediately and more intimately into the higher an more respectable circles of society. I was engaged to teach a singing school for the Baptist Church Society, and also for the Episcopal Church, in each of which there are numerous living witnesses to attest to the entire satisfaction I gave in this department. In the Dutch Reformed Church I kept a pew for my family, this mode of worship being most agreeable to my wife. As for myself, I made little choice of forms and ceremonies, which I deemed of little value. My taste, however inclined me rather to the Episcopalian side. Their church organ, the judicious selection of sacred music, their refined and cultivated taste in its performance; all of which, added to their more liberal tenets, were certainly more consonant with my own views, sentiments and feelings, than anything I had found among other sects of Christians, with whom I had been associated. Still with all this variance, I held and maintained an amicable fellowship with each and all of them, and occasionally, in the absence or vacation of their stated choristers, I was called upon, and officiated in supplying their place, as leader of the choir. During the year 1817, I consented, upon much solicitation, to lead the music in the Baptist church, and received a salary for my services. I assisted also, in the same year, in compiling the first edition of "The New Brunswick collection of Sacred Harmony," and furnished some original compositions of my own for the work. The clergymen of the several parishes of New Brunswick were all friendly to me; the Right Rev. Bishop Croes, the Rev. Mr McLaughlin, of the Baptist church, and the late Dr Livingston, that great head of the Dutch Reformed Church, in particular, always manifested the greatest interest and regard for my welfare. In their dwellings I was ever cordially received, and made welcome as a brother. ...pg 13