In a remarkable turn of events, the identity and story of an enslaved boy known only as “Jersey,” immortalised in a portrait by Sir Joshua Reynolds around 1748, have begun to surface. For centuries, this young boy, depicted alongside naval officer Paul Henry Ourry, was little more than a nameless figure in history. However, recent research has unearthed vital information about his life, hinting at the possibility that he may have gained his freedom.
The Portrait and Its Historical Context
The painting, which hangs in the saloon of Saltram, a National Trust Georgian mansion in Plympton, Devon, features Ourry looking into the distance, exuding authority, while the boy gazes up at him with uncertainty. Titled “Lieutenant, later Captain, Paul Henry Ourry, MP (1719-1783) with an enslaved child known as ‘Jersey’ (dates unknown),” it has long been admired as an early masterpiece of Reynolds. Yet, until now, the story of the boy remained shrouded in mystery.
A collaborative research initiative involving the National Trust, the National Gallery in London, and Royal Museums Greenwich was launched to shed light on the lives of those often overlooked in history. Volunteers and historians have meticulously combed through admiralty records and archival documents, striving to piece together the narrative of Jersey.
Discovering Jersey’s Identity
Mark Brayshay, a volunteer researcher at Saltram, expressed the project’s essential aim: “A key motivation for our research was to explore whether more could be discovered about Jersey than merely his supposed name. Could we acknowledge and honour him as a distinct individual?”
Through diligent investigation, Brayshay and curator Katherine Gazzard uncovered references to the boy under the name “Boston Jersey” in naval records associated with Ourry. This name may hint at his origins, possibly linking him to Boston, Massachusetts. The most significant breakthrough came with the discovery of a baptismal record dated 30 July 1752, revealing that Jersey was baptised as George Walker at the age of fifteen, indicating he was approximately eleven when Reynolds painted him.
Furthermore, a muster roll from 1751 described him not merely as a servant but as a member of the crew. “Later, his name appears as one of 10 crew members due for discharge ‘per paybook’,” noted Brayshay. This raises intriguing questions about the nature of his relationship with Ourry and whether he received payment from the Royal Navy or if the funds were directed to Ourry instead.
The Search for Freedom
Jersey’s journey takes a mysterious turn after he was discharged from a ship in the summer of 1753, disappearing from subsequent naval records. Theories abound regarding his fate—some speculate he may have been sold to another owner, while others suggest he could have gained his freedom and joined a different vessel.
Historian David Olusoga, a prominent broadcaster and National Trust ambassador, highlighted the importance of this research in revealing hidden narratives. “This project asks us to look more closely at a familiar past, revealing a life long obscured and reminding us that history is shaped as much by those rendered invisible as by those remembered,” he stated. “To tell Jersey’s story is to confront the silences within our history, and to recognise the individuals whose lives have too often been hidden from view.”
Restoration and Recognition
The restoration of the painting itself has also provided new insights into Reynolds’ creative process. While initially planning to depict a lush natural setting, the artist ultimately opted for a more subdued brown background. The meticulous removal of old varnish and non-original paint has revealed intricate details of Jersey’s facial features and clothing, allowing viewers to appreciate the sensitivity of Reynolds’ work.
Zoe Shearman, Saltram’s property curator, remarked, “In particular, Jersey’s sensitively painted facial features are revealed more sharply, as are the beautiful details on his clothing.” This restoration not only enhances the viewer’s experience but also enriches the narrative surrounding Jersey, allowing for a more nuanced understanding of his life and portrayal.
Beginning 9 May, the painting will be displayed alongside another Reynolds portrait, Captain the Honourable George Edgcumbe, marking a significant reunion of these two works for the first time in over two centuries. This juxtaposition will provide visitors with a richer context for understanding the lives intertwined in 18th-century British naval history.
Why it Matters
The ongoing research into the life of “Boston Jersey” is a vital step towards recognising the complexity of historical narratives, particularly those involving marginalised figures. By shedding light on the experiences of individuals who have been rendered invisible, we confront the uncomfortable truths of our past. Jersey’s story is not just an isolated tale; it is emblematic of the broader struggle for recognition and dignity faced by countless individuals throughout history. This project invites us to reconsider the legacy of slavery and its enduring impact on modern society, encouraging a more inclusive dialogue about our shared history.
