Catalog entry

Commentary

Mid-nineteenth century Porto Rico (as then spelled) was a rich source of sugar and its derivative products for North America and Europe. Cane sugar, molasses, and rum made up the bulk of cargos loaded by American merchant vessels. Those vessels, particularly from New England ports, brought to the island huge quantities of dried codfish for the sugar plantations to feed their slaves. This trade was the foundation of Sidney Mason’s wealth and civic prominence in his native Gloucester and led to his post as American Consul in Puerto Rico from 1829 to 1835. It led as well to marriage and business, and a second home in New York City. (Refs. 1–3)

In 1850, Lane traveled to New York where he drew and painted views of the harbor and vessel activity, two of which were possibly painted for Mason, who may also have engaged him to paint a view of San Juan at that time. Travel to the West Indies by steamship from New York would have been the most expeditious means to get there, and a stop at Baltimore (either outbound or returning) would have made the voyage all the more productive. The discovery by Melissa Trafton, of a print by Augustus de Vaudricourt with a nearly identical composition, also has introduced the possiblity that Lane did not make the trip, but was copying the lithograph.

Lane’s view of San Juan exhibits his usual deft eye for detail in buildings as well a ships. There are three – possibly more – examples of Bermuda-rigged sloops in this scene – a variant of the sloop rig unseen in New England until the twentieth century. The presence of a French frigate reflects that nation’s interests in the Caribbean – an area of major importance to several European nations. (Ref. 4)

The foreground may reflect the interests of many nations in Caribbean forest products, but not (in this period) those of Puerto Rico. Long described as two boats salvaging mahogany logs cut from that island’s forests, this activity must be reconsidered. Contemporary reports indicate that there was no logging of mahogany in Puerto Rico for export, though it may have been imported for ornamental trees or as finished furniture. If mahogany was once native to the island, it was either logged out or was to be found in forests inaccessible due to surrounding marshlands and an absence of canals to transport the timber. (Refs. 5, 6, 7)

In any case, the logs depicted are too small for marketable mahogany, the trees most suitable for harvest being 100 feet and more in height and upwards of 40 feet in girth above the roots. More likely, the logs depicted are mast timber – probably pine or spruce from North America – which were part of a ship’s deck load, got loose in a storm, and went adrift. That they are floating so high in the water rules out any of the dense tropical hardwoods used for wharf timbers and other woodwork requiring resistance to rot and wear. (Refs. 8, 9)

–Erik Ronnberg

References:

1. Edmund Flagg, Superintendent, “Report on the Commercial Relations of the United States with all Foreign Nations,” Vol. 1 (Washington, DC: Cornelius Wendell, Printer, 1856), pp. 207–216.

2. “Commerce and Navigation. Report of the Secretary of the Treasury, 1850” (Washington, DC: Gideon and Co., Printers, 1851), pp. 124, 125 (fish), 218, 219 (distilled spirits), 220, 221 (molasses), 226, 227 (sugar).

3. Stephanie Buck, “Mason, Sidney” (2015). See Historical Materials: People.

 4. L. R. Hamersly & Co., “A Naval Encyclopaedia” (Philadelphia, 1884. Reprint: Detroit, MI: Gale Research Co., 1971), p. 504, under “‘Mudian.”

 5. The salvaging of the “mahogany logs” comes from a file at the Frick Art Reference Library which was cited by John Wilmerding in “Fitz Hugh Lane” (1971). (Reprinted with revised title “Fitz Henry Lane”: Cape Ann Museum, 2005), pp. 42, 43, and note 7.

 6. “Commerce and Navigation…1850,” pp. 204, 205 (wood, unmanufactured).

 7. Edmund Flagg, Superintendent, “Report of the Commercial Relations of the United States with All Foreign Nations,” Vol. 1 (Washington, DC: Cornelius Wendell, Printer, 1856), pp. 207–209.

 8. Herbert I. Edlin, “What Wood is That?” (New York, NY: The Viking Press, Inc., 1969), pp. 129–131 and wood sample No. 22.

 9. George N. Lamb, “How to Identify Genuine Mahogany and Avoid Substitutes” (Chicago, IL: The Mahogany Association, Inc., 1940), pp. 2–4, 17.