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Art up Close: John Beale Bordley’s Revolutionary Portrait

The origins of the Revolutionary War can be found in the details of Charles Willson Peale’s early American portrait.

4 min read
A middle-aged, light-skinned man stands facing and looking at us, leaning on one arm propped on a tall rock in a landscape in this vertical portrait painting. The man looks out with dark blue eyes under curved black brows. He has a prominent nose, his full apricot-colored lips are closed, and there is a shadow of a beard on his smooth cheeks. He has a receding hairline, and his wavy, ash-gray hair curls around his high, white collar. The man wears a tawny-brown topcoat with white, ruffled cuffs at his wrists, and a long brown vest with fabric-covered buttons. He wears matching brown, knee-length pantaloons with white stockings, and black shoes with gold buckles. His feet are widely planted as he leans on the tall rock on his left elbow, to our right. His elbow rests on an open book on the tall, narrow rock, shaped like a podium. Writing visible in the thick book reads, “Nolumus Leges Angliae mutari.” He points with his other index finger to our right. Behind the man and to our right is a gray, stone statue of a woman wearing flowing robes. She holds a pair of scales in one hand a tall staff with a bell-like form at the top in the other elbow. The statue is angled toward the man, and the tall base on which she stands is carved with the words, “Co LEX ANGLI.” A tree with sickle-shaped leaves and peach-colored fruit spans the height of the composition behind the statue. Near the lower left corner of the composition, two halves of a piece of paper, torn from corner to corner, lies on the ground with the edges curling up. The writing on the paper reads, “Imperial Civil Law — Sumary proceeding.” A thick tree trunk curves in a shallow S shape up along the left edge of the canvas, behind the man. Fern-green jimson weed, clover, small flowers, and rocks carpet the ground beneath and around the man. In the distance, to our left, a man wearing a red coat, a tricorn hat, and holding a musket leads a mule carrying a pack, while sheep graze to our right. Pockets of azure-blue sky are visible beyond gray clouds to our left and fluffy, flaxen-yellow clouds to our right.
Charles Willson Peale, John Beale Bordley, 1770, oil on canvas, Gift of The Barra Foundation, Inc., 1984.2.1

Revolutionary War paintings are usually dramatic—think Washington Crossing the Delaware by Emanuel Leutze or The Death of General Wolfe by Benjamin West. You might not guess that a quiet portrait sets the stage for battles to come.

Emanuel Leutze, Washington Crossing the Delaware, 1851. Oil on canvas, The Metropolitan Museum of Art, Gift of John Stewart Kennedy (1897) 97.34.

Emanuel Leutze, Washington Crossing the Delaware, 1851. Oil on canvas, The Metropolitan Museum of Art, Gift of John Stewart Kennedy (1897) 97.34.

In 1770 Charles Willson Peale painted Maryland attorney and farmer (and his close childhood friend) John Beale Bordley. The portrait argued Bordley’s case for why the American colonists deserved freedom from British rule.

A Farmer who Sought Freedom

Bordley was a farmer who believed in American economic self-sufficiency. He brewed his own beer instead of drinking London ale. He grew wheat, a food staple, instead of tobacco, the cash crop that fueled Anglo-American trade. In his portrait, Peale includes other markers of Bordley's financial independence.

The Letter of the Law

Why is Bordley so staunch in his opposition to British rule? Peale lays clues throughout the painting.

Viewers of the time would have recognized this as the answer King Charles I of England gave to the Nineteen Propositions. Passed by the English parliament in 1642, the propositions asked that the monarch share more power with the two parliamentary houses. King Charles I rejecting these demands plunged the country into the English Civil War. The phrase came to refer to the dangers of changing the English constitution.

In Peale’s portrait, Bordley builds his case like a lawyer. The inscriptions weave together a network of meaning, underlining the hypocrisy of British governors levying new taxes on American colonists. These taxes contradicted the spirit of Lex Angli—the English constitution, which stood for justice and liberty. True British citizens would never endure such tyranny from their rulers.

More Symbols of Injustice

Peale painted more scenes and symbols of indignities suffered at the hands of the British at the edges of the painting.

How did these two men know each other?

Behind the revolutionary meanings of this portrait also lies a story of friendship. Peale’s father had served as Bordley’s tutor, and Peale was his close childhood friend. As an adult, Bordley raised funds to send Peale to London to study with acclaimed painter Benjamin West. When Peale returned, Bordley helped him get his first major commission in the American colonies—two life-size portraits, including this painting.

Peale shared Bordley’s strong belief in colonial independence. During the Revolutionary War, Peale served with the Pennsylvania militia against the British. He carried his miniature case to paint portraits of fellow officers.

Together, Peale and Bordley supported each other's careers and fought for American independence. They are immortalized in Charles B. J. Févret de Saint-Mémin’s engraved portraits.

The image depicts a profile portrait of a man's upper body. He has a prominent nose, defined chin, slightly sunken eyes, short, white, wavy hair brushed back, and wears period attire suggesting the late 18th or early 19th century. The background is a dark circular field with a light-colored backdrop outside the circle. Text at the bottom reads: John Beale Bordelay, 75 years.
Charles B. J. Févret de Saint-Mémin, John Beale Bordley, 1802-1803, mezzotint and engraving in black on wove paper mounted to brown wove paper, Corcoran Collection (Gift of William Wilson Corcoran), 2015.19.1584.37.3
The image is a profile engraving of a man facing to the right. He has a prominent nose, deep-set eyes, and mature facial features. His hair is wavy, gray, and brushed back. He is wearing a high-collared coat and a cravat, and the background is a dark circle. The engraving features the inscription "CHAs W. PEALe." and "Museum Philadelphia."
Charles B. J. Févret de Saint-Mémin, Charles Willson Peale, 1807, mezzotint and engraving in black on wove paper mounted to brown wove paper, Corcoran Collection (Gift of William Wilson Corcoran), 2015.19.1584.37.2

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