A little morning coffee tale - Benjamin Franklin in England, trying to repeal the Stamp Act...

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A classic English engine-turned redware coffee pot, circa 1770

"Among the numerous luxuries of the table...coffee may be considered as one of the most valuable. It excites cheerfulness without intoxication; and the pleasing flow of spirits which it occasions...is never followed by sadness, languor or debility." American printer & politician Benjamin Franklin (1706-1790)

Benjamin Franklin (1706-1790) portrait by David Martin (1737-1797) c 1766-67

In 1766, Franklin was in London, lobbying & attempting to testify before the House of Commons for the repeal of the Stamp Act. Even though he was well-known in the English Parliament, he was not successful in convincing them to change their minds. At that time, Franklin's reputation rested on his scientific achievements. His Experiments and Observations on Electricity (1751) had been reprinted, and he had received numerous honorary degrees & awards for that work. While in London, Franklin's portrait was commissioned by his friend, Edinburgh wine merchant Robert Alexander. Alexander paid fellow Scot David Martin to paint the portrait. Franklin liked his wine, & evidently he also liked the portrait, which was exhibited to London audiences in the spring of 1767, for he commissioned this slightly modified replica & shipped it back home to Philadelphia. Here the artist portrays Franklin in a blue suit with elaborate gold braid & buttons, a far cry from the simple frontier dress he affected at the French court in later years. He also wears a popular wig of the era called "physical," usually worn by physicians & other men of learning. Martin portrayed Franklin as a studious, prosperous man of science, seated amongst books & papers. The impressive beribboned document held by Franklin in the portrait is not a treaty or an Act of Parliament, but one of wine merchant Alexander's property deeds! The other books & pamphlets & the bust of Isaac Newton invoke Enlightenment ideals. Here Franklin supports his head with his right hand, in a pose traditionally associated with deep thought; but in this case only the thumb actually supports his head, giving far more alertness to the pose than that of an aging 67-year-old. Some refer to this as the "thumb portrait."
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About the Calico Colonial American Women Imported from England

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Irish artist William Kilburn (1745-1818), was an illustrator for William Curtis' Flora Londinensis, as well as a leading designer & printer of calico. A few hundred originals of his water color designs, make up the Kilburn Album, housed at the Victoria and Albert Museum in London.


Kilburn was the son of a Dublin architect. Because of his penchant for drawing & his delicate health, his parents apprenticed him to Jonathan Sisson, an Englishman, who had established a calico printing factory in the countryside at Leixlip.


While he was an apprentice, he would rise at 4 am to draw patterns for paper stainers, which, with his master's leave, he sold. The income from this venture gave him pocket money & enabled him to purchase a pony, on which he rode to Dublin on Saturdays, to spend every Sunday with his parents.


When his father died, he decided to visit London, where he obtained a ready sale for his designs amongst the calico printers. He also drew & engraved flowers from nature for the print shops. This led to his acquaintance with Mr. William Curtis, the botanist, who, deeming himself fortunate in meeting an artist of such uncommon talent, agreed with him to execute the plates for his great work, the Flora Londinensis.


When the young Kilburn had entered into this engagement, he returned to Ireland, brought his mother & sister to small house in Bermondsey with a garden & green-house near the Curtis nursery. There he occupied himself from sunrise to sunset drawing & engraving the plants for the Flora Londinensis.


When he finished his engraving contract, he accepted a proposal to manage a calico printing factory, at Wallington, for which he was to have a share in the profits without advancing capital. They were so successful that, at the end of 7 years, he purchased the concern becoming sole proprietor.


Because he had worked so hard to attain this position, he gave the highest wages to his workmen, some of whom came from the continent, & gave annual premiums for the best designs. He had the honor of presenting one of his pieces of printed chintz, the sea-weed pattern, designed by himself, to Queen Charlotte.


Finding that his patterns were pirated in Manchester, he applied for a bill, which was brought into Parliament by his neighbour, Edmund Burke, "To secure to calico printers the copyright in original designs."


The bill was passed in May 1787 "An Act for the Encouragement of the Arts of designing & printing Linens, Cottons, Callicoes & Muslins by vesting the Properties thereof in the Designers, Printers, Proprietors for a limited Time." Unfortunately, this "limited Time" was a period of 2 months from the date of first publishing the design. But it was a beginning.


















For more biographical information see The Dublin Penny Journal, Volume 1, Number 23, December 1, 1832.
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