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Inscription

possibly by another hand, lower left: [upper line illegible] / Sept 22 18[11?]; lower right, possibly in another hand: JE Scrip

Provenance

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
1912
Loan Exhibition of Historical and Contemporary Portraits Illustrating the Evolution of Portraiture in Lancaster County, Pennsylvania..., Woolworth Building, Lancaster, Pennsylvania, 1912, no. 156c, as Margaret Adelia Leman.
1943
Jacob Eichholtz, 1776-1842, American Artist, Philadelphia Art Alliance, 1943, no. 23, as Margaret Adelia Leman.
1954
American Primitive Paintings from the Collection of Edgar William and Bernice Chrysler Garbisch, National Gallery of Art, Washington, D.C., 1954, pl. 50, as Margaret Adelia Leman.
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
1913
Hensel, William U. "Jacob Eichholtz, Painter." Pennsylvania Magazine of History and Biography 37 (1913): 69, as Margaret Leman.
1960
Milley, John Calvin. "Jacob Eichholtz, 1776-1842." Master's thesis, University of Delaware, 1960: 308, as Margaret Adelia Leman.
1969
Beal, Rebecca J. Jacob Eichholtz, 1776-1842. Philadelphia, 1969: 135, repro. 283.
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: 154, 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: 201, 204, color repro. 203.
Technical Summary

The support is a vertically grained yellow poplar panel (0.5 cm thick) over which the ground, a thin layer of light brown paint with a small admixture of black, was applied in vertical strokes. The freely brushed background paint extends to the edges of the panel only at the upper left corner and forms a rough oval elsewhere, leaving space in reserve for the figure. The figure was worked with fluid, thin paint, blended wet-into-wet, but the white ruffle is slightly more pastose. Numerous dents in the surface, including one at the bridge of the sitter's nose, have been filled and inpainted. The painting was most recently treated in 1948, when discolored varnish was removed, and a wax coating was applied to the reverse of the panel. The varnish has not discolored.