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Provenance

Archibald Ramsden, Regent's Park, London; (sale, Christie, Manson & Woods, London, 1-2 February 1917, 2nd day, no. 239, as by Gilbert Stuart); bought by (Frank T. Sabin), London; from whom it was purchased 1920 by (G.S. Sedgwick) for Thomas B. Clarke [1848-1931], New York;[1] sold by Clarke's executors to (M. Knoedler & Co.), New York, from whom it was purchased 29 January 1936, as part of the Clarke collection, by The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift to NGA, 1954.

Exhibition History
1922
Portraits Painted in Europe by Early American Artists, The Union League Club, New York, January 1922, no. 15, as Lieutenant Robert Calder by Gilbert Stuart.
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, as Lieutenant Robert Calder by Gilbert Stuart.
Bibliography
1926
Park, Lawrence. Gilbert Stuart. 4 vols. New York, 1926: 1:no. 135; 2:85, repro.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 164, repro.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 10, repro.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 309.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 17, repro.
1992
Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 3-4, repro. 5.
Technical Summary

The medium-coarse canvas is plain woven; it has been lined. The ground appears to be white; there may be layers of colored imprimatura. The painting is executed in rich, fluid, opaque layers applied in a somewhat fuzzy manner. X-radiographs show that the position of the sitter's left hand has been changed. A coat of arms at top right was painted out before the picture's export from England in 1920; there are also more recent retouches along the bottom edge, on the sitter's left shoulder, and scattered throughout the background. The impasto has been slightly flattened during lining. The work is otherwise in good condition. The natural resin varnish has discolored yellow slightly.