An Unusual Bargain
During her research trip, a pivotal moment occurred at the archives of the Litchfield Historical Society, where, curator Alex Dubois showed her a set of remarkable portraits of Phillips’s cousins: Nisus Kinney, his daughter, Sarah Kinney, and his son-in-law, Lucius Culver. These three portraits were part of a set of seven (only four now survive) that were bartered by the artist in exchange for “a fine horse.”
This unleashed a cascade of questions in Ryan. Why would the Kinneys commission seven portraits? And what compelled Ammi Phillips to barter his paintings for a horse?
“That’s when I knew I had a story,” remarked Ryan. “It was as if Nisus Kinney were speaking to me, urging me on to explore the reasons behind this unusual bargain.”
As she dug deeper, the complex and emotionally charged circumstances behind this agreement began to form the backbone of Seven Cousins for a Horse — a way to see Ammi Phillips and the times he lived in through the few days in July, 1848 that he spent painting the Kinneys.
A Changing America
In 1848, America was going through massive economic and social change. In the Northeast, the industrial revolution was in full swing, with new technologies like the locomotive and the daguerreotype changing the way people both lived and perceived themselves. In Connecticut, the 65-year gradual abolition of chattel slavery was finally complete. In New York, the Seneca Falls convention was about to make the first calls for a radical new idea: Universal Suffrage. This was also a time of epidemic tuberculosis and utopian movements, which sparked fear, hope, and a good measure of misinformation on what was then the American frontier. Ammi Phillips and his cousins persevered in these difficult times through the bonds of family and the transcendent power of art to help us see and be seen.
A Theatrical Landmark
In Seven Cousins for a Horse, audiences have the opportunity to witness a theatrical landmark, inspired by the people whose desires, challenges, and lived experiences uncannily resemble ours today. “I hope audiences will discover a deep appreciation of Phillips’s life and work,” said Ryan. “But more than that, I hope they will see something they recognize in the play — that it will spark their curiosity about where we’ve been, and where we’re going.”
“Local historical societies play a crucial role in preserving and sharing our heritage,” added Thrown Stone Co-Artistic Director Jonathan Winn, “We hope Seven Cousins will inspire audiences to embark on their own research and connect with the rich tapestry of our past.”
What a fascinating introduction to the history of this play and a wonderful invitation to welcome this production. Thank you.
Maybe Tammy Ryan would like to write her next play about Florence Griswold whose father left her a house but no way to pay for its upkeep. This industrious lady opened a boarding house in Old Lyme and her first resident was an impressionist painter who invited his mates to join him. The house and museum still exist and the painters developed a bond with Florence that was beautiful and meaningful as they painted walls and doors to thank her for their care. She even entertained evenings in her drawing room with an easel of paper and each artist drew one line on it, like an early game of Pictionary.