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Mar 10, 2018 - Mar 11, 2018
American, early 19th century. Oil on canvas housed in a gilt frame. Unsigned; 26.5 x 33.5 in. (sight).
George Washington is featured here in a similar fashion as he appears in Gilbert Stuart's "Lansdowne" portrait (1796): in black attire, standing up by his desk in an oratorical posture, his right hand extended forward, palm up, a sword pointing downward in his left hand, and the presidential chair pushed back behind him. In the background, the portico is lined with Doric columns adorned with red tassled drapes, while books are piled on the floor underneath the desk. However, important variations from the original Lansdowne portrait must be noted. They include the carpet, here a blue field of stars replacing the original Oushak rug, the blue presidential chair and the grey drapery over the desk, both red in Stuart's painting, and the absence of a rainbow in the background.
Gilbert Stuart is known to have painted a number of portraits of Washington (at least thirty-nine were commissioned), all following three main compositions: the Lansdowne type, the Vaughan type, and the Athenaeum type, and produced several versions of each type of portraits. However, many contemporaneous and later artists also made copies of Stuart's various depictions of George Washington, including Stuart's daughter Jane, William Winstanley, Rembrandt Peale, and Thomas Sully, to name only a few.
This portrait remains unattributed. The blue starred carpet is a stark departure from the original Lansdowne portrait, and stands out among other known copies of Stuart's representation of George Washington.
Literature:
Carrie Rebora Barratt and Ellen G. Miles, Gilbert Stuart. MetPublications and Yale University Press, 2004.
Mantle Fielding, Gilbert Stuart Portraits of George Washington. Philadelphia, 1923.
John Hill Morgan and Mantle Fielding, The Life Portraits of George Washington and their Replicas. Philadelphia, 1931.
Lawrence Park. Gilbert Stuart: An Illustrated Descriptiove List of his Work, Vol. II. William Edwin Rudge, New York, 1926.
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