Portrait of George Mason |
|
John Hesselius painted the original portrait in 1750 to commemorate the Masons’ marriage. Born in Philadelphia, Hesselius painted many of Virginia’s elite personages, including six portraits in 1751 of the Masons’ neighbors, the Fitzhugh family. In 1811, the Masons’ son, John Mason, had three copies commissioned citing the poor condition of his parents’ portraits. Gunston Hall thanks the Virginia Museum of Fine Arts for gifting the portrait on behalf of the Honorable David K. E. Bruce. |
Portrait of Ann Mason |
|
John Hesselius painted the original portrait in 1750 to commemorate the Masons’ marriage. Born in Philadelphia, Hesselius painted many of Virginia’s elite personages, including six portraits in 1751 of the Masons’ neighbors, the Fitzhugh family. In 1811, the Masons’ son, John Mason, had three copies commissioned citing the poor condition of his parents’ portraits. Gunston Hall thanks the Virginia Museum of Fine Arts for gifting the portrait on behalf of the Honorable David K. E. Bruce. |
Bible Box |
|
The Masons' faithful entries of family information in their Bible and George Mason's service as a vestryman and church warden at Truro Parish for more than half his life attests to their commitment to religious faith and family. Though not owned by the family, this early-eighteenth century bible box, constructed of cypress and poplar with exposed dovetailing, is attributed to coastal Virginia. Reverence for costly and religiously significant bibles led many people to rely on bible boxes as a means of protecting and securing this important text. |
Spice Chest |
|
The 1770s spice chest was produced on the eastern coast of Virginia, possibly along the Rappahannock River. This piece is made of walnut and poplar, has eleven interior drawers, a lock, and bracket feet. Spices were an essential part of colonial American cooking, especially among elite Virginians who were known for serving highly-seasoned food. |
Buckland and Sears Chair Fragment |
|
The chair is attributed to William Buckland, carpenter-joiner, and William Bernard Sears, master carver. It would have been part of a set used in the “Chinese Room” at Gunston Hall. The fluting of the scroll ends of the leg brackets is virtually identical to the stair bracket scrolls at Gunston Hall and the scrolls on a side table also attributed to the Buckland shop with carving by Sears. The chair is important because it is the only documented chair by Buckland and Sears, it is their first collaboration and it is the only piece of their furniture that can be set in its original interior. |
Branched candlesticks |
|
The London silversmith Robert Meach produced this stunning pair of branched candlesticks in 1768-9. Though not owned by the Masons, the date corresponds to a period George Mason was purchasing lighting equipment. Weighing 96 ounces, they would have been an expensive addition to a home. |
Creamware serving dish |
|
This “feather edge” plate represents nearly 30 pieces of creamware dating 1760-1780 recently purchased to replicate sherds found on the site by archeology. The only known archival reference of Mason's creamware purchase derives from a July 22-August 28, 1780 record from John de Neufville & Son in Amsterdam. The reference provides an example of the assortment of creamware pieces he purchased. |
|
|
|
This circa 1775 mahogany slab top table pays homage to the influence of joiner/carpenter William Buckland and master carver William Bernard Sears on the design and execution of Gunston Hall. These two influential minds produced furniture to be placed in at least one room in the mansion. Though only a chair fragment remains, enough can be gleaned from this piece as well as two tables to appreciate theeir architecturally derived furniture. |
|
|
|
The English knifeboxes date to circa 1790 and their tiered size relates to their usage as storage for both a dinner and a dessert service. Since the Mason family had both dinner and dessert silver (likely English silversmith, John Horsley, c1761), it was important for Gunston Hall to acquire knife boxes to reiterate this primary evidence of the family’s life. |
Miniature of George Francis Thornton |
|
A local miniaturist likely produced this portrait of George Francis Thornton (1790-1824), who was one of George Mason's fifty-nine grandchildren. After graduating from William and Mary, Thornton moved back to Alexandria. He never married and had no children and the piece descended through the Bronaugh family. Thornton's miniature represents the legacy of the Mason family through subsequent generations.
Gift of Anita Thomas Smith |
