Havell eventually came to America with his wife and daughter on the ship _Wellington_, in September, 1839; they landed at New York after the 15th of that month, and for a time were the guests of the Audubons at Number 86 White Street. His brother, Henry,[157] who visited the United States in 1829, returned at about this time and established a print shop in Broadway, New York, but according to Robert's biographer, his enterprise was ruined by a fire, when he went back to England and he died there about 1840. After a brief residence in Brooklyn, Robert Havell settled at Sing Sing, now Ossining, at a beautiful spot on the Hudson, overlooking the Palisades, which he named "Rocky Mount." There he devoted himself with characteristic energy to painting and sketching, but he also engraved and published a number of excellent views of his favorite river, the Hudson, as well as of New York and other American cities. In 1857 he established himself at Tarrytown, where he built a house and studio, and where in his later years he produced many meritorious works in oils. "He never tired," says his biographer, "of the great, broad, sweeping Hudson, and propped up in bed, that he might gaze at will on this mighty river," he died at the age of eighty-five, November 11, 1878.[158] Havell has been described as quite the opposite of Audubon in many of his characteristics, calm, deliberate, not easily discouraged, and fully his equal in industry, perseverance and determination. Audubon sometimes complained of his friend's lax business habits, but their long sustained and cordial relations were never broken during life, and their mutual debt was great. The engraver's first son, who lived but a year, was named Robert Audubon, and the naturalist, who was his godfather, held the child at its baptism at old St. James Church, Oxford Street, in 1827. A descendant of Luke Havell, who was a drawing master at Reading, uncle of Robert the second, possesses a silver loving-cup which Audubon presented to his engraver upon the completion of the second volume of his illustrations; it is inscribed "To Robert Havell, from his friend J. J. A. 1834." When we consider the size of Audubon's plates, which required for the portrayal of his largest subjects, such as the Whooping Crane or Wild Turkey, an area of no less than five square feet, it will be seen that his engraver was compelled to adopt the most expeditious methods. This and kindred difficulties were overcome by Havell's skillful union of aquatint with etching and line engraving, but some of his smaller figures, as the Snow Birds (Plate 13), appear to have been etched in the usual way, with but slight use of either aquatint, dry-point or burin. In aquatinting the plate was usually bitten to the desired depth for the softer shading of feathers or foliage, or for the entire expression of sky, water or landscape. Says George Alfred Williams:[159]