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Rembrandt Peale (American, 1778-1860). George Washington, circa 1855. Oil on canvas. 36 x 29 inches ...
美国 北京时间
2022年05月11日 开拍 / 2022年05月09日 截止委托
拍品描述 翻译
Rembrandt Peale (American, 1778-1860)
George Washington, circa 1855
Oil on canvas
36 x 29 inches (91.4 x 73.7 cm)
Signed lower left: Rembrandt Peale
Property from the Collection of Melvin 'Pete' Mark Jr., Portland, Oregon
PROVENANCE:
The collection of Mrs. Katrina Trask Peabody;
Berry-Hill Galleries, New York;
Acquired by the present owner from the above.
EXHIBITED:
Brooklyn Museum, Brooklyn, New York, 1922.
Intentionally rivaling fellow portraitists John Trumbull, Gilbert Stuart, and his own father, Charles Willson Peale, Rembrandt Peale made it his professional mission to render "the national portrait and standard likeness" of George Washington.
In 1787, as a boy in Philadelphia, Rembrandt had met Washington, whom Charles Willson had recently celebrated in George Washington at the Battle of Princeton, and in 1795, at the age of seventeen, he requested from his father his first portrait sitting with the president; the resulting George Washington, an accomplished naturalistic study, focused on facial details over costume and captured an aging but proud man.
Over the next two decades, Rembrandt Peale painted various likenesses of Washington after other artists like the sculptor Jean-Antoine Houdon, and in 1823, he verbalized his determination to create the official portrait:
"No Artist ever found his pride more strongly excited by magnitude and interest of his purpose than mine to rescue from oblivion the aspect of a Man who would forever be venerated as the 'Father of his Country.'" (C. Hevner, Rembrandt Peale 1778-1860: A Life in the Arts, Philadelphia, Pennsylvania, 1985, p. 66)
Peale's purpose was fueled by commercialism, however, as much as nationalism, as a popular portrait had the potential to generate a demand for replicas. The 1824 George Washington, Patriae Pater realized Peale's goals: it memorialized the president as a classical hero, depicting him in velvet finery against an ethereal ground and set within an oval trompe-l'oeil stone frame, carved with an oak wreath and the head of Jupiter. The portrait also served as the model for Peale's subsequent lucrative Washington commissions, including lithographs, equestrian portraits, and numerous smaller "porthole" portraits.
The present work exemplifies this "porthole" portrait, otherwise known as the George Washington Copy, which derived from the Patriae Pater and solidified Peale's reputation as the foremost 19th-century Washington painter. Around 1846, Peale began producing the Copy, featuring the Patriae Pater portrait bust within a simplified stonework frame, and available in different sizes (the standard was 25 x 30"), in military or civilian dress, and with orientation to the left or right. For the rest of his career, he solicited commissions for the Copy through pamphlets and a traveling lecture, "Washington and his Portraits." An 1857 article in The Crayon describes the successful lecture Peale delivered at the New York Historical Society:
"At the close of the reading Mr. Peale exhibited various portraits of Washington, together with one of Mrs. Washington, all painted by himself; the pictures were brilliantly lighted, and so arranged as to be seen to great advantage. The remarks upon the portraits were interspersed with anecdotes, personal reminiscences, and historical facts, possessing marked interest, as they were listened to with unflagging attention."(Ibid., p. 88) In its 1850s context, Peale's George Washington would have reminded audiences of the nobility and unity of America's founding era, indeed, a foil to the growing anxiety of the country on the brink of the Civil War.
The provenance of the present work is as remarkable as the portrait itself: The painting comes from the collection of Melvin 'Pete' Mark, Jr., in Portland, Oregon. Pete Mark, a leader in the Portland business and philanthropic community for over 60 years, was one of this city's most generous and visionary philanthropists. The causes and organizations that Pete and his wife Mary supported over the years are too numerous to mention, but chief among them are Pioneer Courthouse Square, where Pete served as the founding chair of the board; the Portland Art Museum, where Pete was one of this community's most generous and visionary philanthropists, and the Oregon Historical Society, which has hosted five exhibits featuring the Marks' extraordinary collection of Presidential artifacts and American historical treasures. The Mark collection of Presidential artifacts will be offered at Heritage auctions on May 7th.
Condition Report*: Lined Canvas. Under UV exam, there does appear to be a few spots of finely applied inpaint including: 3 inch spotted horizonal line of inpaint left of the figures cheek and a 3 inch spotted vertical line of inpaint in the figure's left collar. 1/2 inch area of inpaint in the background, above the figure's head. Scattered tiny touches of inpaint in face, most notable beneath left eye. Scattered inpaint addressing craquelure throughout the background and coat. Scattered craquelure throughout. Tape along the tacking edges. Faint 1 inch white scratch above the right shoulder. Mild frame abrasion along the right and left edges. Uneven discolored varnish. Framed Dimensions 44.5 X 37.5 Inches

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