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Provenance

Purchased 1948 by Edgar William and Bernice Chrysler Garbisch, New York and Cambridge, Maryland;[1] gift 1953 to NGA.

Exhibition History
1954
American Primitive Paintings from the Collection of Edgar William and Bernice Chrysler Garbisch, National Gallery of Art, Washington, D.C., 1954, pl. 51.
1955
American Primitive Paintings, National Gallery of Art, Washington, D.C., 1955.
2003
The Worlds of Jacob Eichholtz, Portrait Painter of the Early Republic, shown at one of three simultaneous venues: Lancaster County Historical Society, Pennsylvania, 2003, unnumbered catalogue, repro.
Bibliography
1960
Milley, John Calvin. "Jacob Eichholtz, 1776-1842." Master's thesis, University of Delaware, 1960: 303.
1969
Beal, Rebecca J. Jacob Eichholtz, 1776-1842. Philadelphia, 1969: 129, no. 432.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 56, 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: 171, 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: 197-199, color repro.
Technical Summary

A light brown-beige ground was thinly brushed on a vertically grained yellow poplar panel (0.5 cm thick) with rough cut, rather than smooth finished, edges. A portrait is roughly blocked out on the reverse of the panel. The paint was applied in thin layers extending to all edges but the bottom, where it stops roughly 1 cm short. The highlights of the shirt are done with a slightly more painterly technique. The jacket and details of the hair were painted wet-into-wet, blending slightly with underlying paint that had not completely dried. The gray background has faded slightly where it was not protected by the frame, leaving a lighter oval around the figure. There are a few scattered areas of inpainting. The painting was most recently treated in 1948, when discolored varnish was removed from the front and a wax coating was applied to the reverse of the panel. The varnish has become slightly discolored.