ACKNOWLEDGMENTS

 Thank You!

The intricacy of this book, roaming over a period of almost 100 years, with most 

its narrative played out in Liverpool, London, New York, and principally, of 

course in Philadelphia, required much editorial advice, research assistance, and 

personal support. Though these benefits were shared in different measures, I 

want to thank  all those, whatever their role and  contribution, who happily and 

willingly made their valuable impact on this end product.

My on-site research in Liverpool and London involved forging new 

relationships with colleagues and sometimes making new friends. Two 

individuals in particular, Dr. Nigel Hall, most recently a research fellow at 

the University of Essex, and Ron Jones, of the Liverpool Athenaeum, gave 

of themselves selflessly.

In meetings in Liverpool and in subsequent emails and telephone calls, their tireless engagement was key to fleshing out John H. McFadden’s life in the port city. Nigel took his doctorate degree in the study of the British cotton trade at the University of Oxford, and is now one of the most eminent scholars of the subject during the period in question. He offered insight and diamond-bright detail. Nigel is a brilliant conversationalist on a myriad of arcane topics, and I felt warmed in the glow of Nigel’s erudition and scholarship.

Ron is the unofficial “keeper of the keys” to the Athenaeum’s archives and library. He directed my research in that learned institution. His companionship when we visited the site of McFadden’s former residence, Worsley House, in Prince’s Park, and as we toured the grounds and surroundings of the “Flags” made for many delightful hours of kinship. Two on Ron’s books immediately grabbed my attention: one, The American Connection, because it had direct bearing on the McFadden saga and the other, The Beatles” Liverpool, because I am, like many pilgrims to the Beatles” Liverpool, a fan of the Fab Four.

I would be remiss if I did not recognize Joan Hanford, the Athenaeum’s official librarian; Jim Powell and Andrew Popp, both at the University of Liverpool; Sarah Heaps of the International Cotton Association; and Brian Kernaghan, who offered books and good cheer in the bright confines of his eponymous bookshop, one the finest anywhere. I also spent a very productive day the Liverpool Record Office and the Liverpool Central Library, and I am grateful to the staffs at these fine institutions for making the tedious chore of moldy research a delight. Well, almost.

In London, the book’s manuscript, in several stages of development, received tender loving care from Raymond Chellel, an old-hand at editing, thanks to more than a score of years as a English literature scholar in a suburban public (that is, private) school. Ray is a good friend of many years standing. His knowledge is boundless, and he was also able to set me right in correcting some awful bloopers. I was in good hands.

Research help in London also came from Julie Carrington of the Royal Geographical Society, Nickolaus Karlson of Thos. Agnew & Son, Alex Leigh of the Research Centre at the National Gallery, and the amazing staff at the Paul Mellon Centre for Studies in British Art. I also received a warm welcome from one and all at the National Arts Library at the Victoria and Albert Museum.

My thanks also goes to Richard Dorment, the author of the catalogue raisonné, British Painting in the Philadelphia Museum of Art, which served as a guide and guiding light. Richard was well into a much-deserved retirement when I met him at his London home for tea, and he was very gracious in receiving me, turning an otherwise unplanned disruption into a warm, inviting occasion.

I am indebted to an array of consummate professionals in Philadelphia. Among these are Lynn Dorwalt of the Wagner Free Library; Evan Peugh of the Academy of Natural Sciences at Drexel University; the Reverend John Gardner, the Reverend Rachel Gardner, and Margaret P. Dipinto, all of the Church of the Holy Trinity; Chip Seltzer of the Corinthian Yacht Club; Cassandra Keith and Nancy S. Taylor, both of Episcopal Academy; Pam E. Kosty of the Museum of Anthropology at the University of Pennsylvania; Cornelia King of the Library Company; Michael Schlesinger of Allan Domb Real Estate; Jennifer Johns and Hoang Tran, both of the Academy of the Fine Arts; and Bruce Laverty and Jill LeMin Lee, both of the Athenaeum.

Staffs of the Fisher Fine Arts Library of the University of Pennsylvania, Penn’s Van Pelt Library, the arts collection at the Free Library, and at Laurel Hill Cemetery were energetic in responding to my entreaties.

Curators and other professionals at the Philadelphia Museum of Art provided backbone to my research, with unswerving courtesy, generosity, and within a quick response time. In particular Miriam Cady, Emily Rice, Susan K. Anderson Laquer, and Angel González deserve special mention. Angel is a PMA security guard. Each time I visited the museum, I was met with Angel’s warm greeting, “Welcome home!”

Above all, I want to extend my gratitude to Jennifer Thompson, the PMA’s curator of the John H. McFadden Memorial Collection and the John G. Johnson Collection. Jenny heartily shared her unique perspective on British painting of the period and also offered valuable pointers for my research in London.

Also requiring mention for their help are René Corado of the Western Foundation of Vertebrate Zoology in Camarillo, California; Ellen Hampton of the American Cathedral in Paris; and Justin T. Carreño of Washington. John H. McFadden’s great grandson, Jasper Brinton of Phoenixville, Pennsylvania, was one of the most enthusiastic supporters of the project. He shared mementos and memories. How helpful and delightful these were! I also came away from Jasper’s country house well fed. Out of the blue, he prepared a gourmet lunch, and I partook of the meal enthralled by Jasper’s yarns and story-telling.

Two others stand out.

John H. McFadden of Philadelphia, the great-great grandnephew of the subject of this book, provided the grant that funded the project. Without his curiosity about his ancestor, this book would never had gone forward. As important, John provided the guidance and support that helped me stay the course as twists and turns came our way. In John’s view, no stumbling block was insurmountable, and he was always there with a timely leg up.

As always, my partner Joan T. Kane was my chief cheerleader. Her encouragement and forbearance when work stole our time together made this book possible. It could only have happened with Joan by my side.