Ingham

IQIO * L D. Avery, A Geneal. of the Ingersoil Family
in America (1926); N. Y. Tribune, July 23, 1894;
Patent Office records; records of the Ingersoll-Rand
Company.] C.W.M.

INGHAM, CHARLES CROMWELL (1796-
Dec. 10, 1863), portrait painter, was born in
Dublin, Ireland, the descendant of an English
officer serving tinder Cromwell in that country.
Ingham is said to have recalled his childish pleas-
ure in examining at his grandfather's house the
portraits of his forebears clad in the decorative
costume of the period. As a child in petticoats
he sat for his own portrait, and from this experi-
ence he dated his interest in drawing and paint-
ing. At thirteen he began the study of drawing
at the Royal Dublin Society, where he remained
for one year. Then for several years he was a
pupil of William Cuming (1769-1852), a painter
of women's portraits in Dublin. While still a
student, Ingham painted a picture in oils entitled
"Death of Cleopatra," for which he received a
prize. This painting was later shown at the first
exhibition of the American Academy of Fine
Arts in New York, where it was generally re-
garded as a marvelous piece of work for so
young an artist. At the age of twenty, Ingham
accompanied his family to New York, where in
time he became a successful painter, specializing
in portraits of women and children. Besides
paintings in oil he executed miniatures in water
colors on ivory.

He was painstaking and deliberate in his paint-
ing, with the natural result that he wearied his
sitters. Besides the fashionable beauties of New
York, distinguished men also sat for him, among
whom were the Marquis de Lafayette (1825),
the scholar and publicist, Gulian C. Verplanck
(1830), and Gov. DeWitt Clinton. These three
portraits are in the collection of the New York
Historical Society. That of Lafayette is the orig-
inal head from which was painted the full-length
portrait for the State of New York now in the
State Department in Albany. The portrait of
William Dunlap in the collection of the National
Academy of Design should also be mentioned.
Among the early popular works of the artist
were his "Young Girl Laughing" and "The
Black Plume" (Catalogue of the Gallery of Art
of the New York Historical Society, 1915). In
the Metropolitan Museum of Art, New York,
are a portrait of Miss Frances Wilkes (1830)
and a "Flower Girl" (1846). The latter, hung
with a group of paintings by the Romanticists
of the Victorian period, shows a young girl with
yellow hair wearing a black veil and a tan
dress, against an enveloppee background. The
eyes are staring and there is little life-likeness
in expression. The flowers in the girl's basket

Ingham

are painted with meticulous accuracy. Ing-
ham's style may be broadly characterized as
highly detailed and over-elaborated. His paint-
ings of miniatures on ivory probably influenced
his method in oils. The flesh portions were
painted in successive layers which gave them a
hard finish like that of ivory. Refinement of
detail to a minute degree and lack of strength
are the outstanding marks of his style, yet his
rich and brilliant coloring atones in part for
the weakness in composition and lack of feel-
ing for line.

The few letters written by Ingham which are
now available and a contribution to The Crayon
(November 1858), entitled "Public Monuments
to Great Men," reveal that he had a considerable
background of culture, and was an "accom-
plished gentleman" of the day as well as an
artist. He was one of the original members of
the National Academy of Design (1826), a
professor in its school, and one of the founders
of the Sketch Club in 1847. He died in New
York City.

[Wm. Dunlap, Hist, of the Rise and Progress of the
Arts of Design in the U. $. (1834), rev. ed. (3 vols.,
1918), ed. by F. W. Bayley and C. E. Goodspeed; H. T.
Tuckerman, Book of the Artists (1867) j T. S. Cum-
mings,, in The Nat. Acad. of Design: Ceremonies^ on the
Occasion of Laying the Corner-Stone (1865); Ulrich
Thieme and Felix Becker, Allgemeines Lexikon der
Bildenden Kunstler vol. XVIII (1925) ; Samuel Isham,
The Hist, of Am. Painting (1905) ; A. H. Wharton,
Heirlooms in Miniatures (1898); W. G. Strickland, A
Diet, of Irish Artists (1913) ; Appletons' Ann. Cyc.9
1863; Evening Post (N. Y.), Dec. n, 1863.] A.B.B.

INGHAM, SAMUEL DELUCENNA (Sept.

16, 1779-June 5,1860), manufacturer, congress-
man, secretary of the treasury under Jackson,
was born at Great Spring near New Hope,
Bucks County, Pa., the son of Dr. Jonathan and
Ann (Welding) Ingham. His father, a farmer as
well as a physician, undertook his early educa-
tion, but sent him at ten years of age to a school
at some distance from home. Before he attained
his fourteenth year, the death of his father made
further attendance at school impossible. He was
then apprenticed to a paper maker on Penny-
packer Creek about fifteen miles from Philadel-
phia, but was able to continue his studies in
his spare time. At the age of nineteen he was
released from his indenture and returned to the
farm, where he assisted his mother for a year.
He then became manager of a paper mill near
Bloomfield, N. J. There he became acquainted
with Rebecca Dodd, whom he married in 1800.
The same year he returned to Pennsylvania and
built a paper mill at New Hope. He took an
active interest in local politics and was elected
from Bucks County to the state House of Repre-
sentatives in 1806, serving until 1808 when he

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