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Inscription

by unknown hand, on reverse, hidden by lining: William Clarke [sic] Frazier [sic] / Counsellor at Law / painted in the year 1835. / AE.T.57 Years 4 mo & 29 days / -Eichholtz- / Ex----

Provenance

The sitter [1776-1838]; probably his son, Reah Frazer [1804-1856]; the sitter's granddaughter, Susan Carpenter Frazer [d. 1930], Lancaster, Pennsylvania, by 1912; sold March 1923 to Thomas B. Clarke [1848-1931], New York;[1] his estate; sold as part of the Clarke collection 29 January 1936, through (M. Knoedler & Co., New York), to The A. W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1947 to NGA.

Exhibition History
1912
Loan Exhibition of Historical and Contemporary Portraits Illustrating the Evolution of Portraiture in Lancaster County, Pennsylvania..., Woolworth Building, Lancaster, 1912, no. 88.
1924
Exhibition of Portraits by Early American Portrait Painters, The Union League Club, New York, February 1924, no. 2.
1928
Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke, Philadelphia Museum of Art, 1928-1931, unnumbered and unpaginated catalogue.
1948
American Paintings from the Collection of the National Gallery of Art, Washington, D.C., 1948.
1950
American Paintings from the Collection of the National Gallery of Art, Washington, D.C., 1950.
1951
American Paintings from the Collection of the National Gallery of Art, Washington, D.C., 1951.
1953
American Paintings from the Collection of the National Gallery of Art, Washington, D.C., 1953.
1959
Jacob Eichholtz, Historical Society of York County, York, Pennsylvania, 1959, no. 39 (organized by Pennsylvania State Museum, Harrisburg).
1989
Extended loan for use by Ambassador Henry A. Catto, U.S. Embassy residence, London, England, 1989-1991.
1991
Extended loan for use by Ambassador Raymond G. H. Seitz, U.S. Embassy residence, London, England, 1991-1994.
2003
The Worlds of Jacob Eichholtz, Portrait Painter of the Early Republic, shown at one of three simultaneous venues: The Heritage Center of Lancaster County, Pennsylvania, 2003, unnumbered catalogue, repro.
Bibliography
1913
Hensel, William U. "Jacob Eichholtz, Painter." Pennsylvania Magazine of History and Biography 37 (1913): 67.
1925
Hostetter, Ida L.K. "A Short Preface to a Copy of a Memorandum of Jacob Eichholtz, the Artist" and "List of Portraits and Paintings of Jacob...." Papers Read before the Lancaster County Historical Society, November 6, 1925 29 (1925): 291, no. 81.
1928
Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke. Exh. cat. Philadelphia Museum of Art, 1928, unnumbered.
1969
Beal, Rebecca J. Jacob Eichholtz, 1776-1842. Philadelphia, 1969: 89, no. 288.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 54, repro.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 153, repro.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 173, repro.
1996
Kelly, Franklin, with Nicolai Cikovsky, Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 213-214, color repro.
Technical Summary

The support is a fine, plain-weave fabric that has been lined. Cusping appears on all four cut edges. The warm white ground layer is artist-applied and appears to consist of two layers, a smooth thin coat applied overall, followed by a thicker, coarser layer brushed in the central area of the support, in an unusual pattern. Paint was applied simply, with little layering, and with reserves left for all design elements. The face was painted with thin, opaque layers of fluid paint blended wet-into-wet and with glazes. The slight halo along the contours is the exposed ground layer. The painting has a small loss in the bottom center. Numerous small areas of the face and white shirtfront have been inpainted. The painting was last treated in 1959, when it was lined, discolored varnish was removed, and it was restored. The painting appears to have several layers of varnish, all of which are semi-matte and have not discolored.