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on reverse: Adelia Leman / 1808; upper right reverse: (5)


Leman family, Lancaster, Pennsylvania; by descent to Adelia Leman [1857-1947], Lancaster, grandniece of the artist.[1] Acquired, likely purchased from Adelia Leman's estate, in 1948 by Edgar William and Bernice Chrysler Garbisch, New York, and Cambridge, Maryland; gift 1953 to NGA.

Exhibition History
Jacob Eichholtz, 1776-1842, American Artist, Philadelphia Art Alliance, 1943, no. 24, as George Leman.
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. and fig. 3.4.
Milley, John Calvin. "Jacob Eichholtz, 1776-1842." Master's thesis, University of Delaware, 1960: 30, as George Leman.
Beal, Rebecca J. Jacob Eichholtz, 1776-1842. Philadelphia, 1969: 135, no. 458, repro. 283.
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 56, repro.
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 154, repro.
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 171, repro.
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: 199-201, repro.
Technical Summary

The support is a vertically grained yellow poplar panel (0.5 cm thick) with smoothly cut edges, over which a thin, beige-brown fluid ground was applied. The paint is in thin, opaque layers extending to the bottom and right edges; at the top and left the paint stops before the edge, exposing the ground in a border approximately 5 cm wide. The technique was primarily wet-into-wet, smoothly blended, with low impasto in the background and slight impasto in the highlights of the buttons and the collar. The figure was painted within an oval. The slight abrasion overall has been inpainted in a few small rubbed areas and scattered losses. 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.