For over three hundred years, portraits of Elizabeth Tailer Nelson (1667–1734), John Nelson (1654–1734), Henry Lloyd I (1685–1763), and James Lloyd III (1769–1831) remained in the possession of the same family that commissioned them centuries ago.
The artworks, a gift from the collection of Orme Wilson III and Elsie Wilson Thompson, in memory of Alice Borland Wilson, have joined Preservation Long Island’s collection and are now available for the public to view in a new digital exhibition: Facing Slavery: The Lloyd Family Portraits in Context.
This gift coincided with the launch of the first phase of the Jupiter Hammon Project, a long-term initiative that is hoped will transform how Preservation Long Island engages future visitors to Joseph Lloyd Manor (1767) with the entangled stories of the Lloyd family and the individuals they enslaved for more than a century at the Manor of Queens Village on Long Island (Lloyd Neck today), among them, Jupiter Hammon (1711–before 1806) one of our nation’s first published Black American writers.
This multi-generational collection of portraits is a visual reminder of the region’s colonial and early national history, but the individuals they represent reflect only a fraction of the people, both enslaved and free, who lived, formed families, and established communities on Long Island and New England during the seventeenth, eighteenth, and nineteenth centuries.
For more information or to view the Lloyd Family Portraits, visit the Preservation Long Island website.
Portraits of Elizabeth Tailer Nelson (1667–1734) by an unknown American artist, ca. 1685. Oil on canvas; John Nelson (1654–1734) attributed to James Frothingham (1786–1685) after John Smibert (1688–1751), before 1824. Oil on panel; Henry Lloyd I (1685–1763) by John Mare (1739–ca. 1803) after John Wollaston (active ca. 1742–1775), 1767. Oil on canvas; and James Lloyd III (1769–1831) by an unknown American artist, 1800-50.