{"1": {"fulltext": "", "height": "2698", "width": "1752", "jp2-path": "someaccountofgib00aver_0001.jp2"}, "2": {"fulltext": "y/iy wrif samr/r nv/r itjortofffo/iave\\nth ^lud\\\\JiillojT^ocke.ithanthynursesJull I\\nLIBRARY OF CONGRESS.\\nUNITED STATES OF AMERICA.\\nPRESENTED BY", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0002.jp2"}, "3": {"fulltext": "", "height": "2599", "width": "1690", "jp2-path": "someaccountofgib00aver_0003.jp2"}, "4": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0004.jp2"}, "5": {"fulltext": "A-c^ /f i^", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0005.jp2"}, "6": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0006.jp2"}, "7": {"fulltext": "Two hundred copies printed from type, August, 1900-\\n.oC.^i1/z^^ ^^ni^", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0007.jp2"}, "8": {"fulltext": "y^*", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0008.jp2"}, "9": {"fulltext": "SOME ACCOUNT OF THE\\nGIBBS-CHANNING PORTRAIT\\nOF GEORGE WASHINGTON", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0009.jp2"}, "10": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0010.jp2"}, "11": {"fulltext": "", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0011.jp2"}, "12": {"fulltext": "THE GIBBS-CHANNING\\nWASHINGTON.\\nPAINTED BY GILBERT STUART,\\nIN POSSESSION OF S. P. AVERY.", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0012.jp2"}, "13": {"fulltext": "ome Account of the\\nGibbs-Channing\\nPortrait of George\\n^Vashington 2^1 2^^\\n2^14 2^K Painted by Gilbert Stuart\\nPrivately Printed\\nNew York i 900", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0015.jp2"}, "14": {"fulltext": "3l^\\n.A\\n4 Jrj 01", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0016.jp2"}, "15": {"fulltext": "^INCE the portrait of Washing-\\nton, by Gilbert Stuart, known\\nas the Gibbs-Ohanning por-\\ntrait, passed into the possession\\nof the present owner, he has\\noften been requested to loan it for various pub-\\nlic exhibitions, to allow it to be reproduced in\\ndifferent forms, and as often has been solicited\\nto furnish information as to its history. The\\ngeneral recognition that this pictorial rendering\\nof the Father of his Country is the most\\nworthy of the many likenesses made of him,\\nalso that it is a supreme work of art by our\\ngreatest portrait painter, which for perfection of\\nexecution and immaculate condition stands pre-\\neminent, fully justifies the following presenta-\\ntion of facts relating to its history and record-", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0017.jp2"}, "16": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0018.jp2"}, "17": {"fulltext": "The Gibbs-Channmg^ Washington\\ning some of the critical praise which has been\\nfreely bestowed upon it.\\nIt may be in order to first give the following\\nletter fi-om Dr. Wilham F. Channing, from\\nwhom Mr. S. P. Avery, of New York, pur-\\nchased the painting in 1889.\\nDear Sir You have requested me to furnish you with the\\nrecord of the Gibbs Washington, derived from the publica-\\ntions relating to it, from my own researches, and from family\\ntradition.\\nThe Gibbs Washington is the representative picture of\\nWashington s first sitting to Stuart, in September, 1795. This\\nsitting originated the first type of the Washington portrait by\\nStuart, showing the right side of Washington s face. The\\nVaughan picture (painted for Samuel Vaughan,^ sent to London,\\nengraved by Holloway, and published there in 1796) and three\\nother copies which exist, belonging to this type, were all painted,\\nthough perhaps not finished, in the latter part of 1795 or early\\npart of 1796. All are very inferior to the Gibbs Washing-\\nton in individuality of handling and detail. The Gibbs\\nWashington was sold by Stuart, at an early date, to his warm\\npersonal friend, Colonel George Gibbs (died 1833) of New York,\\nwith the statement that it was on the easel while Washington\\nwas sitting, and worked upon from life. At a later period\\nColonel Gibbs, having purchased from Stuart a set of his Presi-\\ndents of the United States, sold the Gibbs picture to his\\nsister, Mrs. William Ellery Channing, who gave it, thirty\\nSamuel Vaughan was a London merchant, resident for several years in\\nPhiladelphia, and a great admirer of Washington. He is the Mr. Vaughan\\nwho presented him with the handsomely carved mantel for Mount Vernon,\\nwhich Washington termed in his diary\u00e2\u0080\u0094 My marble chimney piece. Mr.\\nVaughan took or sent the picture to London in the year in which it was\\npainted, and was there engraved by T. Holloway, and there published in 1796.\\n5", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0019.jp2"}, "18": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0020.jp2"}, "19": {"fulltext": "The Gibhs-Channing Washington\\nyears ago, to her son Dr. William F. Channing, the present\\nowner and writer of this letter. The Gibbs Washington\\nhas thus never been out of the possession of the Gibbs-Chan-\\nning family since it left Stuart s hands.\\nThe original picture, resulting from Washington s second\\nsitting, April, 1796, is the Athenaeum head, now in the\\nBoston Museum of Fine Arts. Stuart retained this picture\\nin his own possession, and, as he did not want the Gibbs\\npicture to come in competition with the head, which he had\\nselected to multiply in future years by numerous copies, what\\nmore probable disposition could be made of it than to sell it\\nto his cherished friend, in whose discretion he could trust\\nFrom all the circumstances, and from the internal evidence of\\nthe picture itself, my own conviction, shared by many artists,\\nhas increased that the Gibbs picture is (in the most restricted\\nsense) the original of Washington s first sitting to Stuart.\\nThe picture has been engraved for Elizabeth B. Johnston s\\nwork, The Original Portraits of Washington, 1882, in which\\nshe praises it highly, adding, It is a pity, and a marvel, that\\nit has not been more widely known.\\nMr. George C. Mason, in his Illustrated Life and Works of\\nGilbert Stuart, 1879, furnishes a fine photogravure of the\\npicture as a frontispiece of the volume, and also an excellent\\nline-engraving, by Charles Burt, in the body of the work. Mr.\\nMason says that the finest, beyond all comparison, of the\\nStuart portraits of the first type is the Gibbs Washington.\\nHe adds: The picture is superb, and in it the lower part of\\nthe face, so much criticized in the well-known portraits of\\nWashington by Stuart, is remarkably well managed. Rem-\\nbrandt Peale says, speaking of the Vaughan picture, an early\\nWashington by Stuart: In the lower part of the face it has\\nthe advantage over the other portraits that he afterward\\npainted. This quality, in a much higher degree, appears in\\nthe Gibbs picture, with which Peale was probably unac-\\nquainted. The venerable A. B. Durand, when shown a photo-\\n6", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0021.jp2"}, "20": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0022.jp2"}, "21": {"fulltext": "The Gibbs-Channing Washington\\ngraph of it, said: That is a likeness. It is much superior in\\ncharacter to the Athenjeum portrait, and should be consid-\\nered the standard: both the artist and the subject would\\ngain by it. He also said he wished he could have known of\\nit in earlier life, evidently meaning that he would have\\nengraved it, instead of the Athenaeum portrait.\\nThe Gibbs Washington is distinguished by its dignity as\\nwell as benignity of expression. The picture is in splendid\\npreservation, the colors, as in so many of Stuart s pictures,\\nretaining their original brilliancy.\\nI have a vivid recollection of the picture, nearly sixty\\nyears ago, hanging with other portraits in the house of my\\nfather, William Ellery Channing, in Boston.\\nNewport, Sept. 2, 1888. Wm. F. Channing,\\nSoon after the large Anneline photograph\\nwas taken of the painting by Wm. Kurtz, a\\ncopy of it was sent to Mr. Charles Henry Hart,\\nof Philadelphia, a literary gentleman who has\\nlong been an acknowledged expert on subjects\\nof art connected with American history. On\\nthe receipt of which he wrote as follows\\nKosEMONT, Pa,, January 18, 1896.\\nMy dear Sii I found the superb photograph\\nof your Washington awaiting me on my return,\\nand I cannot express myself in regard to the\\noriginal more strongly than I did in the Ameri-\\ncan Art Review for March, 1880, Vol. I, p,\\n219; as the volume may not be handy to you, I\\nwill quote from my review therein of Mason s\\n7", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0023.jp2"}, "22": {"fulltext": "1", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0024.jp2"}, "23": {"fulltext": "The Gihbs-Channing Washington\\nLife of Stuart For introducing this last-\\nnamed picture (Gibbs Washington) to the public,\\nMr. Mason merits universal thanks, and it is\\nonly to be regretted that it has remained hidden\\nso long. Had it been known earlier, we feel\\nconfident in asserting that the Athenaeum head\\nwould not have become the accepted hkeness of\\nWashington. We had the privilege of seeing\\nthe Gibbs portrait when it was in the engraver s\\nhands, and to say that it is noble as a portrait\\nand grand as a picture is but to express feebly\\nthe impression it made upon us. In the first\\nplace, it is what the Lansdowne and Athenseum\\nheads are not it is the likeness of a man a\\nman who has lived amono- men firmness and\\ngentleness, decision and moderation, thoughtful-\\nness and power, all are depicted there. One\\nfeels that Washington could have looked like\\nthis, and it is not unlike the portraits painted by\\nother artists but no one can ever feel thor-\\noughly satisfied that he did look like the Lans-\\ndowne or the Atheuceum heads. Quoting\\nstill further from Mr. Hart s review, he says\\nThat Stuart was a master in the art of portrait\\npainting it needs no argument to prove his\\nworks are the only argument needed, and they\\nprove it most satisfactorily. Li his Hfe-like por-\\n8", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0025.jp2"}, "24": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0026.jp2"}, "25": {"fulltext": "The Gibhs-Ghanning Washington\\ntraits the men and women of a past generation\\nlive again. Each individual is here, and it was\\nStuart s ability to portray the individual that\\nwas his greatest power. Each face looks at\\nyou, and fain would speak, while the brilliant\\nand animated coloring makes one forgetful that\\nit is of the past. Stuart s pictures have come\\ndown to us very Uttle injured by time, which is\\ndoubtless owing to the use by him of pure colors,\\nand his manner of employing them.\\nThe late Wm. S. Baker, of Philadelphia, the\\nwell-known author of the Engraved Portraits\\nof Washington, Philadelphia, 1880, and of\\nother historical and bibliographical works relat-\\ning to Washington, thus expressed himself: I\\nhave received a copy of the splendid photograph\\nof the Gibbs-Channing Washington. I do\\nnot remember to have seen the original, but am\\nexceedingly impressed with this reproduction\\nand can truthfully say with Durand that this\\nis a Mkeness and much superior to the Athen\u00c2\u00a3eum\\nhead. I am olad that the original of so valu-\\nable a portrait of the Father of his Country is\\nin such worthy hands. I must regard it as the\\nportrait which is most consistent with the charac-\\nter of that great man.\\n9", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0027.jp2"}, "26": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0028.jp2"}, "27": {"fulltext": "The Gibbs-Channing Washington\\nReturning to Mason s Life, G. W. P. Custis,\\nin his Recollections and Private Memoirs,\\nsays The first portrait of Washington by\\nStuart created a great sensation in Philadelphia.\\nIt was soon followed by the celebrated full-\\nlength for the Marquis of Lansdowne.^ This\\nlast was undoubtedly the next picture to create\\na sensation but there was an interval of at\\nleast a year between the painting of the first por-\\ntrait and the full-length. Among Stuart s\\npapers the following fragment was found: A\\nlist of gentlemen who are to have copies of the\\nportrait of the President of the United States,\\nPhiladelphia, 1 795 (then follow several\\nnames Mr. Vaughan s being the only one\\nwhich has become famiUar); it is not at all\\nprobable that these pictures were all painted\\nPhiladelphia at that time was full of visitors\\nThe first full-length of Washington was a commission from the Marquis\\nof Lansdowne. When it was known that Stuart was to paint such a picture,\\nMr. and Mrs. William Bingham (Mr. Bingham was a notable merchant of\\nPhiladelphia) expressed a strong desire to be at the charge, and to be per-\\nmitted to present it to the marquis. Stuart, it is said, hesitated, but finally\\nyielded to their wishes, and Mrs. Bingham asked the president to give the\\nartist sittings. This was in April, 1796, as shown in the note from the\\npresident to Stuart. Sir I am under promise to Mrs. Bingham to sit for\\nyou to-morrow, at nine o clock, and wishing to know if it would be convenient\\nto you that I should do so, and whether it shall be at your own house (as she\\ntalked of the State House) I send this note to ask information. I am, sir,\\nyour obedient servant, Geo. Washington\\nMonday Evening, 11. April, 1796.\\nThis painting is now in the possession of Lord Rosebery.\\n10", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0029.jp2"}, "28": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0030.jp2"}, "29": {"fulltext": "The Gibbs-Channing Washington\\nStuart was crowded with orders for portraits,\\nand he was so overrun with callers that he was\\nforced, a little later, to remove to Germantown.\\nIt is very easy to establish the fact that\\nthe earher portraits show only the right side of\\nthe face, but it is not possible now to say which\\nof the early portraits M^as the earliest. The\\nfinest beyond all comparison is that owned by\\nDr. WilHam F. Channing, of Providence, E. I.\\nIt was painted for Colonel George Gibbs. The\\nwarmest friendship existed between Colonel\\nGibbs and Stuart, and we may feel sure that in\\npainting this picture the artist aimed to do his\\nbest.\\nMr. Charles Henry Hart, in Harper s Maga-\\nzine for August, 1896, in an article on Stuart s\\nLansdowne Portrait of Washington, has the\\nfollowing regarding the pictures of the first sit-\\nting to Stuart\\nGilbert Stuart painted three original por-\\ntraits of Washington firom life. They are\\nknown to history, from their owners, in the\\norder of their painting, as the Vaughan, Lans-\\ndowne, and Athenaeum pictures. The first is a\\nfull bust, the second a whole length, and the\\nthird a vignette head. The Vaughan portrait\\n11", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0031.jp2"}, "30": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0032.jp2"}, "31": {"fulltext": "", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0033.jp2"}, "32": {"fulltext": "GEOIIGK WASHINGTON.", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0034.jp2"}, "33": {"fulltext": "The Gibbs-Chamiing Washington\\nshows the right side of the face, while the Lans-\\ndowne and Athenseum heads show the left side.\\nStuart returned from England in 1792, after\\nan absence of seventeen years, and towards the\\nclose of 1794 settled in Philadelphia, with the\\nostensible object of painting a portrait of the\\nPresident, carrying with him, it is said, a letter\\nof introduction to Washington from John Jay.\\nHere in the following year he painted his first\\nportrait of Washington, a delineation unfortu-\\nnately not commonly famihar, but which, after\\na careful study of the subject, I consider to be\\nthe best and most satisfactory likeness of Wash-\\nington that Stuart painted.\\nThere are but three pictures known of this\\ntype from the easel of Stuart. One, the portrait\\npainted for Samuel Vaughan, of London, which\\nwas finely engraved by Holloway for Hunter s\\nsumptuous edition of Lavater s Physiognomy,\\nnow in the possession of Mrs. Joseph Harrison,\\nof Philadelphia. Another, until within a few\\nyears lost sight of, much finer than the Vaughan\\nportrait in execution, and with every indication\\nof being the original from life painted for Wil-\\nliam Bingham, and purchased at the sale of his\\nefiects at Philadelphia, in 1807, by the proprie-\\ntor of the Old Exchange Cofltee-house, in whose\\n12", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0037.jp2"}, "34": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0038.jp2"}, "35": {"fulltext": "The Oihhs-Ghanning Washington\\nfamily it remained for eighty-five years, until it\\ncame into the possession of the writer. And\\nthe third, somewhat varied from the other two,\\nhut a very heautiful and impressive head, known\\nas the Gibbs picture, belonging to Mr. S. P.\\nAvery, of New York.\\nFor some unaccountable reason Stuart seems\\nnot to have been satisfied with this, his first\\nattempt, and he had two later sittings, the last\\none, or Athenaeum head, receiving his prefer-\\nence. Yet he retained the Gibbs picture by\\nhim for several years, and is said to have dis-\\nposed of it to Colonel Gibbs as his best work,\\nand only out of personal friendship. Likewise,\\nwhen William Birch desired to make an enamel\\nportrait of Washington, Stuart gave him his\\nfirst head to copy, and Washington stamped it\\nwith his approval.\\nMason mentions another of the same type as\\nbeing owned (1879) by Mrs. Eogers, of Lan-\\ncaster, Pa., a daughter of General Hand, of the\\nRevolution. EUzabeth Johnston has the\\nfollowing notice of this picture in her work,\\nThe Original Portraits of Washington, foHo,\\nOsgood Co., Boston, 1882 A very hand-\\nsome copy of this first portrait is now in posses-\\n13", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0039.jp2"}, "36": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0040.jp2"}, "37": {"fulltext": "The Gibbs-C/ianning Washington\\nsion of Mrs. Anna E, Reilly, of New Haven,\\nConn. This lady is a great-grandclaughter of\\nthe gallant Irish captain of the E evolution,\\nGeneral Edward Hand. The picture was pur-\\nchased in Baltimore in 1806, by Edward Brien,\\nof Philadelphia, who married General Hand s\\ndaughter. The late Mr. Stockton Hough,\\nof Trenton, IST. J., told Mr. Avery that he had\\nseen this picture (1899) in possession of Mrs.\\nReilly (nee Rogers), who was then living ;it the\\nWindsor Hotel. Mr. Hough described the pic-\\nture as being a fair example of the artist, and\\nthat the background was red. Another good\\nStuart, answering to the above description, is\\nnow owned by Mr. George L. Rives of this\\ncity, who has kindly furnished this clear pedi-\\ngree of it. This portrait was for many years\\nin the possession of Professor George Tucker, of\\nthe University of Virginia, the biographer and\\nfi iend of Jefferson. How it came into Professor\\nTucker s possession is uncertain, although it\\nmay have been through his wife, who was\\nMaria Ball Carter, whom he married in 1802,\\nand who was a great-niece of General Washing-\\nton. Erom Professor Tucker the portrait came\\nto his daughter, Mrs. George Rives, of Sher-\\nwood, Albemarle Co., Va., and was by her sold\\n14", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0041.jp2"}, "38": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0042.jp2"}, "39": {"fulltext": "The Gibbs-Channing Washington\\nto Mr. Francis Rives in 1874, who bequeathed\\nit to his son, Mr. George L. Rives,\\nStuart s third original destined to become\\nthe most known of his works was a bust-\\nportrait, for which Washington consented to\\nsit at the sohcitation of his wife, of whom\\nStuart painted a companion portrait during the\\nspring or summer of 1796. His fame now\\nl)urdened him with nuiltiphed demands upon\\nhis time. To secure leisure, he left Chestnut\\nStreet, and removed to Germantown, where the\\nAthenseum portraits were painted. Different\\nstatements have been made as to why Stuart\\nnever completely finished these portraits, and\\nretained them thus in his possession until\\nhe died, Stuart s explanation is given by\\nMr. Neagle, the artist, in these words: Mrs.\\nWashington called often to see the general s\\nportrait, and was desirous to possess it. One\\nday she called with her husband, and begged to\\nknow when she might have it. The general\\nhimself never pressed it; but on this occasion, as\\nhe and his lady were about to retire, he returned\\nto Mr. Stuart, and said that he saw plainly of\\nwhat advantage the picture was to the painter.\\nHe therefore beg-sred the artist to retain the\\n15", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0043.jp2"}, "40": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0044.jp2"}, "41": {"fulltext": "The Gibbs-Channing Washington\\npicture at his pleasure. Miss Jane Stuart s\\nversion of the story is: When General and\\nMrs. Washington took their last sittings, her\\nfather told Washington that it would he of great\\nimportance to him if he could retain the origi-\\nnals, and that Washington consented, saying,\\nCertainly, Mr. Stuart, if they are of any con-\\nsequence to you; I shall he perfectly satisfied\\nwith copies from your hand, as it will he impos-\\nsihle for me to sit again. Miss Stuart says\\nthat the copies that were made were for Mount\\nVernon.\\nThis pair of (the unfinished) portraits re-\\nmained in the possession of his family until\\n1831, when they were bought from his widow,\\nfor fifteen hundred dollars, by the Washington\\nAssociation of Boston, and other subscribers,\\nand were presented to the Boston Atheuseum;\\nat present they are loaned to the Museum of\\nITine Arts, with other paintings belonging to\\nthe Athenaeum. Of this picture Stuart made a\\ngreat many copies, good, fairly good, or poor,\\nas the mood or pressm-e permitted; he used to\\ncall it his nest egg, or his hundred-dollar\\nbill, and when he needed money he would turn\\none off rapidly. One of the best of these copies\\n16", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0045.jp2"}, "42": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0046.jp2"}, "43": {"fulltext": "The Gibbs-Ghanning Washington\\nis now in the Walters superb collection at Bal-\\ntimore. It was painted for Robert Gilmor, also\\na noted collector of the same city; with the\\npicture came Stuart s receipt for the price of it\\n(one hundred and fifty dollars), and some lines\\nsaying- that, painting it for such a distinguished\\namateur, he had taken especial pains with it,\\nand hoped Mr. Gilmor would be pleased. After\\nthe Gilmor collection was dispersed, this picture\\nbecame the property of Admiral Dahlgren, from\\nwhose widow the late Wilham T. Walters pro-\\ncured it.\\nSome of Stuart s copies of this Washington\\nportrait have been destroyed by fire or other\\naccidents, others from want of proper care, in-\\njudicious cleaning, etc., have become worthless.\\nStuart s daughter made quite a number of copies\\nof the same picture; James Frothingham,\\nStuart s pupil, made several most excellent\\ncopies, which to the unlearned might pass as\\nthe master s work. Others have made copies,\\nfrom copies. Considering these facts, it is not\\ndifficult to account for the numerous Stuarfs\\nWashington which are constantly turning up,\\nto the dismay of artist-judges and other genuine\\nexperts.\\n17", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0047.jp2"}, "44": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0048.jp2"}, "45": {"fulltext": "", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0049.jp2"}, "46": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0050.jp2"}, "47": {"fulltext": "The Gihhs-Channing Washington\\nWashington Allston was asked to pronounce\\na eulogy on Stuart, but he was forced to decUne,\\nowing to faiUng health he, however, wrote the\\nfollowing obituary, which appeared in the\\ncolumns of the Boston Daily Advertiser a\\nmemorial which in paying a just and beautiful\\ntribute to the genius of Stuart, did credit to the\\nheart of his brother artist.\\n(Bilbert Stuart.\\nasorn December 3, 1755.\\nI)lc\u00c2\u00a3)3ulB27, 1828.\\nDurinof the last week the remains of Gilbert\\nStuart, Esq., were consigned to the tomb. He\\nwas born in the State of Rhode Island, in the\\nyear 1755. Soon after coming of age he went\\nto England, where he became the pupil of Mr.\\nWest, the late distinguished President of the\\nRoyal Academy. Stuart there rose to eminence\\nnor was it a slight distinction that his claims\\nwere acknowledged even during the Ufe of Sir\\nJoshua Reynolds. His high reputation as a\\nportrait painter, as well in Ireland as in Eng-\\nland, having thus introduced him to a large ac-\\nquaintance among the higher classes of society,\\n18", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0053.jp2"}, "48": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0054.jp2"}, "49": {"fulltext": "The Gihhs-Channing Washington\\nbotli fortune and fame attended liis progress, in-\\nasmuch that, had he chosen to remain in Eng-\\nland, they would have doubtless awarded him\\ntheir highest gifts. But, admired and patron-\\nized as he was, he chose to return to his native\\ncountry. He was impelled to this step, as he\\noften declared, by a desire to give to Americans\\na faithful portrait of Washington, and thus, in\\nsome measure, to associate his own with the\\nname of the Father of his Country. And well\\nis his ambition justified in the subhme head he\\nhas left us: a nobler personification of wisdom\\nand goodness, reposing in the majesty of a\\nserene countenance, is not to be found on can-\\nvas. He returned to America in 1792, and re-\\nsided chiefly in Philadelphia and Washington,\\nin the practice of his profession, till about 1806,\\nwhen he removed to Boston, where he remained\\nto the time of his death. During the last ten\\nyears of his life he had to struggle with many\\ninfirmities yet such was the vigor of his mind\\nthat he seemed to triumph over the decay of\\nnature, and give to some of his last productions\\nall the truth and splendor of his prime.\\nGilbert Stuart was not only one of the first\\npainters of his time, but must have been ad-\\nmitted, by all who had an opportunity of know-\\n19", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0055.jp2"}, "50": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0056.jp2"}, "51": {"fulltext": "The Gibbs-Channing Washington\\ning him, to have been, even out of his art, an\\nextraordinary man one who would have found\\ndistinction easy in any other profession or walk\\nof life. His mind was of a strons; and orimnal\\ncast, his perceptions as clear as they were just,\\nand in the power of illustration he has rarely\\nbeen equaled on almost every subject, more\\nespecially on such as were connected with his\\nart; his conversation was marked by wisdom\\nand knowledge, while the uncommon precision\\nand eloquence of his language seemed ever to\\nreceive additional grace from his manner, which\\nwas that of a well-bred oentleman. The nar-\\nrations and anecdotes with which his knowledofe\\nof men and of the world had stored his mem-\\nory, and which he often gave with great beauty\\nand dramatic effect, were not unfrequently em-\\nployed by Mr. Stuart in a way and vsdth an\\naddress peculiar to himself From this store it\\nwas his custom to draw largely while occupied\\nwith his sitters apparently for their amuse-\\nment; but his object was rather, by thus ban-\\nishing all restraint, to call forth, if possible,\\nsome involuntary traits of natural character.\\nBut these glimpses of character, mixed as they\\nare in all men with so much that belonofs to\\ntheir age and association, would have been of\\n20", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0057.jp2"}, "52": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0058.jp2"}, "53": {"fulltext": "The Gibbs-Channing Washington\\nlittle use to the ordinary observer for the fac-\\nulty of distinguishing between the accidental\\nand the permanent in other words, between the\\nconventional expression which arises from man-\\nners and the more subtle indication of the indi-\\nvidual mind is indeed no common one; and by\\nno one with whom we are acquainted was this\\nfaculty possessed in so remarkable a degree.\\nIt was this which enabled him to animate his\\ncanvas, not with the appearance of mere gen-\\neral life, but with that peculiar, distinctive life\\nwhich separates the humblest individual from\\nhis kind. He seemed to dive into the thoughts\\nof men, for they were made to rise and speak\\non the surface. Were other evidence wanting,\\nthis talent alone were sufficient to estabhsh his\\nclaims as a man of genius, since it is the privi-\\nlege of genius alone to measure at once the\\nhighest and the lowest. In his happiest efforts,\\nno one ever surpassed him in embodying (if we\\nmay so speak) these transient apparitions of the\\nsoul.\\nIn a word, Gilbert Stuart was, in its widest\\nsense, a philosopher in his art; he thoroughly\\nunderstood its principles, as his works bear wit-\\nness, whether as to the harmony of colors, or\\nof hues, or of light and shadow, showing that\\n21", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0059.jp2"}, "54": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0060.jp2"}, "55": {"fulltext": "The Gribbs-Cha7ining Washington\\nexquisite sense of a whole which only a man of\\ngenius can realize and embody.\\nWe cannot close this brief notice without a\\npassing record of his generous bearing toward\\nhis professional brethren. He never suffered\\nthe manliness of his nature to darken with the\\nleast shadow of jealousy but where praise was\\ndue he gave it freely, and gave it, too, with a\\ngrace which showed that, loving excellence for\\nits own sake, he had a pleasure in praising. To\\nthe younger artists he was uniformly kind and\\nindulgent, and most liberal of his advice, which\\nno one ever properly asked but he received,\\nand in a manner no less courteous than im-\\npressive. The unbroken kindness and friend-\\nship with which he honored the writer of this\\nimperfect sketch will never be forgotten. In\\nthe world of art Mr. Stuart has left a void that\\nwill not soon be filled. And well may his\\ncountry say, A great man has passed from\\namongst us. But Gilbert Stuart has bequeathed\\nher what is paramount to power, since no\\npower can command it, the rich inheritance\\nof his fame.\\nL.ofC.\\n22", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0061.jp2"}, "56": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0062.jp2"}, "57": {"fulltext": "MATTERS OF FACT\\nIn confirmation of Allston s reference to Stuart s high\\nreputation as a portrait painter, as well in Ireland as in Eng-\\nland (Stuart spent seventeen years there), the following\\nlist of portraits of distinguished subjects painted during that\\nperiod, and engraved in mezzotint, and published from 1781\\n(only six years after Stuart arrived in London) down to 1806,\\ntaken from John Chaloner Smith s work on English mezzo-\\ntints, will be found most interesting. These engravings are\\nall of folio size, and for the full lengths, of which there are\\nseveral the plates are extra large, and executed by the best\\nengravers of the period. Fine-proof impressions of some of\\nthese plates fetch at auction sales sometimes as much as\\nthe artist received for the original painting. It is amusing\\nto note the various ways the painter s name was engraved on\\nthe plate. Often it was Stewart instead of Stuart, most fre-\\nquently it was C. G., then simply G. or J.\u00e2\u0080\u0094 then Gabriel\\nwhich was affixed to the line engraving by James Heath of\\nthe Lansdowne picture, published in 1800. One plate at-\\ntributed the painting to Gainsboro and Stuart (there is a\\nsmall line-engraving of J. S. Copley, the painter, which is\\nattributed to Gainsborough, but really painted by Stuart).\\nWe give the name of the subject, name of the mezzotint en-\\ngraver, and date of the publication (as per J. C. Smith)\\nFothergill, John, M.D., V. Green, 1781. Rogers, Rev. John\\n23", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0063.jp2"}, "58": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0064.jp2"}, "59": {"fulltext": "The Gibhs-Channing Washington\\n(engraver s name not given), published 1785. Kemble, John,\\nas Richard III., G. Keating, 1788. Manchester, George Mon-\\ntague, Duke of, John Jones, 1790. Fitzgibbon, Lord John,\\nC. H. Hodges, 1790. Beresford, Right Hon. John, C. H.\\nHodges, 1790. Cleaver, Eusby, Bromley, 1790. Leinster, Wm.\\nRobert, Duke of, C. H. Hodges, 1790. Grattan, Rt. Hon.\\nHenry, C. H. Hodges, 1792. Poster, John, Rt. Hon.,^C. H.\\nHodges, 1792. Conyngham, Rt. Hon. Wm. B., C. H. Hodges,\\n1792. Brownlow, Rt. Hon. Wm., C. H. Hodges, 1792.\\nJervis, Sir John, Robert Laurie, 1794. Carnarvon, Rt. Hon.,\\nEarl of, W. Ward, 1795. Harvey, Captain John, Murphy,\\n1795. Shaw, Robert, W. Ward, 1797. Lewis, John, R. Field\\n(no date). St. Vincent, the Earl of, R. Smith, 1797. St.\\nVincent, the Earl of (quite a different picture), W. Barnard,\\n1798. Duke of Northumberland, Charles Turner, 1804. Mal-\\nton, Mr. Thomas, Wm. Barney, 1806. Preston, Rev. William,\\nW. Dickinson (no date). Sidney, Lord Viscount, Jno. Young\\n(no date).\\n(Mr. Avery has a set of these rare mezzotints.)\\nIn addition to the above, numerous other engravings have\\nbeen published in England from portraits painted by Stuart,\\nduring his residence abroad, executed in line or stipple, by\\nWm. Sharp, Bartolozzi, Facius, Meyer, Holloway, Ridley, Hull,\\nFry, Caroline Watson, and others.\\nThe Gibbs-Channing Washington, by Gilbert Stuart,\\n1795, measures 25 by 30 inches\u00e2\u0080\u0094 a favorite size of Stuart s\\nit is painted on canvas with a kind of surface generally used\\nby him. The head and features are firmly modeled, the flesh\\nhas those delicate gradations of carnation which he handled\\nso ably, rich and refined at the same time the black velvet\\ncoat has all the texture and sheen of the material itself, no\\npart being at all vague, the white shirt-ruffle shows that firm\\nand peculiar touch which artists have always admired in\\nsuch details by Stuart. The background is made up of a cur-\\n24", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0065.jp2"}, "60": {"fulltext": "", "height": "2579", "width": "1721", "jp2-path": "someaccountofgib00aver_0066.jp2"}, "61": {"fulltext": "The Gibhs-Channing Washington\\ntain, exquisitely expressed in delicate shades of olive-green-\\ngray color; at the right is an opening with a landscape sug-\\ngested. This treatment is a distinguishing feature of this\\nparticular representation of the first sitting, each of the other\\nexamples having red backgrounds. It is seldom that a work of\\nart has remained so long in the one family, over eighty years\\nhave passed during its ownership by three persons sacredly\\nguarded, never tampered with, perfectly transmitted.\\nThe earliest public exhibition of this painting of which we\\nhave found any record is when it was on view, with a consid-\\nerable number of Stuart s portraits, at the Museum of Fine\\nArts, Boston, during the summer of 1860, when it attracted\\nadmiration, surprise and discussion. Previous to that time it\\ncould only have been seen by the personal friends of the\\nGibbs and Channing families. Mr. Avery never saw the pic-\\nture until 1888, when it was in the care of the poet, Mr. E. C.\\nStedman (a relative of Dr. Channing), who put it on view, for\\nan evening, at a monthly meeting of the Century Associa-\\ntion, New York. Later on Mr. Stedman sent it to the loan\\nexhibition in commemoration of the centennial of Washing-\\nton s inauguration 1789-1889, held at the Metropolitan Opera\\nHouse, New York, 1889. Soon after this Mr. Avery pur-\\nchased the picture. It was next seen in a loan collection at\\nthe National Academy of Design 1893-94. During several\\nmonths in 1896, it was at the Metropolitan Museum of Art, in\\na retrospective collection of paintings by American artists,\\nand at the Union League Club, New York, February 22, 1897.\\nIt next figured in the exhibition of engraved portraits of\\nWashington held at the Grolier Club, December, 1899, in\\ncommemoration of the one hundredth anniversary of his death.\\nThe first reproduction of this work of which we have any\\nknowledge, is a small pliotograph taken 1879 by Coleman\\nCo., of Providence, R. I., for Dr. Channing, and which was\\nused for the fine line-engraving made by C. Burt, who put in a\\nplain, flat background, omitting the curtain and landscape\\n25", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0067.jp2"}, "62": {"fulltext": "", "height": "2594", "width": "1664", "jp2-path": "someaccountofgib00aver_0068.jp2"}, "63": {"fulltext": "The Gihbs-Ghanning Washington\\nglimpses, and also for the photogravure by Goupil, of Paris,\\nboth appearing in the handsome quarto vol.: The Life and\\nWorks of Gilbert Stuart, by Geo. C. Mason, Chas. Scribner s\\nSons, N. Y., 1879. There is a large photo-print (rather black)\\nof this picture in Elizabeth B. Johnston s work, The Original\\nPortraits of Washington, folio, Osgood Co., Boston, 1882.\\nIt was engraved on wood by G. Kruell, from the Coleman\\nphotograph, for Harper s Magazine, April, 1889, to accom-\\npany an article on the Centennial celebration. It was also\\nrepresented (but why in an oval form?) in the official History\\nof the Centennial Celebration of George Washington as First\\nPresident of the United States, edited by Clarence Winthrop\\nBowen, Esq., Ph.D., Appleton Co., 1892. A most excel-\\nlent photograph by the Anneline process, size 10x13, was\\ntaken direct from the painting for Mr. Avery by Wm. Kurtz,\\n1895. A half-tone engraving from that photograph was\\nreproduced for Harper s Magazine, August, 1896, as one of\\nthe illustrations to Mr. Chas. Henry Hart s article, Stuart s\\nLansdowne Portrait of Washington. And Thos. Johnson,\\nthe engraver on wood, executed a very successful rendering\\nfrom the Kurtz photograph (assisted by a close study of the\\npainting), which appeared in Scribner s Magazine for June,\\n1898, for Lodge s Story of the Revolution.\\nThe reproductions by the Albertype process of the Gibbs-Channing\\npainting, the engraving by Holloway of the Vaughan painting, and the por-\\ntrait of Stuart, after Neagle, were made for this little history by Mr. Edward\\nBierstadt, N. Y.\\n26", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0069.jp2"}, "64": {"fulltext": "", "height": "2594", "width": "1664", "jp2-path": "someaccountofgib00aver_0070.jp2"}, "65": {"fulltext": "", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0071.jp2"}, "66": {"fulltext": "", "height": "2594", "width": "1664", "jp2-path": "someaccountofgib00aver_0072.jp2"}, "67": {"fulltext": "", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0073.jp2"}, "68": {"fulltext": "", "height": "2594", "width": "1664", "jp2-path": "someaccountofgib00aver_0074.jp2"}, "69": {"fulltext": "", "height": "2599", "width": "1670", "jp2-path": "someaccountofgib00aver_0075.jp2"}, "70": {"fulltext": "LIBRARY OF CONGRESS\\nllllllhlllllHillUHUUIl;", "height": "2719", "width": "1726", "jp2-path": "someaccountofgib00aver_0076.jp2"}}