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Painting — and a lost tale of love — uncovered at library talk

SALISBURY — Val Michalski was almost at the end of his rope.In his studio in North Egremont, Mass., he was testing successively stronger solvents on an 1844 portrait of Maria Birch Coffing of Salisbury by painter Edwin White.The painting, acquired by the Salisbury Association Historical Society in May 2012, had been sent to Michalski for restoration. (He had previously restored a companion portrait of John Churchill Coffing, Maria’s husband.)This painting was in rougher shape, Michalski said. (“Quite appalling,” was how he put it.)He said the painting had been revarnished with a substance that resisted his battery of solvents.“I was stymied,” he said. “I had one technique left.”He used a small scalpel “to physically lift the varnish off.”Once he worked the size 15 scalpel in, “Lo and behold — the varnish just shattered.”The process actually went fairly quickly from that point. He was able to change to a size 20 scalpel — “you could take a leg off with that one” — and get the stubborn varnish off.Which still left a faint gray haze, and some damaged areas that had been touched up at some point with black wax.Michalski said that when he could see the figure a little better, he called historian Katherine Chilcoat (who works for the Salisbury Association). The painting shows Mrs. Coffing sitting in the foreground — and, very unusually, a younger black woman behind her.Regina Madigan, who researched and appraised the painting, said, “I almost fainted” when she saw the black woman.Madigan’s research indicates the woman was a domestic servant — not a slave — in the Coffing household named Jane (or Jenny) Lee.She said including black people in American portraits wasn’t unusual in itself, but they were usually thematically and literally apart from the main subject — slaves working in the background, for example.Here, Jane Lee is close behind Maria Coffing. Michalski’s own observation was that Jane’s expression is “very caring but also commanding.”Michalski, along with appraiser Madigan, frame restoration expert Regina Wenzek and Chilcoat spoke about the Coffing portrait at the Scoville Memorial Library Sunday, Jan. 13, as part of the “Era of Elegance” series.Chilcoat gave a thumbnail sketch of the Coffings and how the painting came to the Histrocial Society, and left the audience with a glimpse of a love letter, early 19th-century style sent by John Churchill Coffing to his future bride.Coffing was 37 at the time, a widower with four children. Maria Birch was 30, unmarried and a schooteacher. He made the first move, sending her a note that said:“Miss Birch, as the first advance belongs to the part that I am, this is directly to inform you madam that I have it in contemplation to make some pertinent propositions to you and should you think proper to adhere to nuptial stipulations, candor shall direct the alliance. Yours with esteem, John Church Coffing.”Maria Birch’s reply: “I am bound to tell you that my heart is buried with a man who lies I know not where, but if you still wish it, I will marry you, and be a mother to your children to the very best of my ability.”Chilcoat said she had the story of Maria Birch’s lost love, but it would have to wait for another day.

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