WILLIAM DUNLAP port MRS SCARBOROUGH oil on wood 1813-15 Start Price USD 15,000.00 Current Price USD 15,000.00 Time Left - Bid Count 0 Buy It Now Price USD 22,500.00 Reserve Price - Start Time Tuesday, July 08, 2008 End Time Tuesday, July 15, 2008 Location Lakeside, MI See more about 'WILLIAM DUNLAP port MRS SCARBOROUGH oil on wood 1813-15' Description One of the finest examples of Americana painting PORTRAIT OF MRS. JARED SCARBOROUGH(1793-18??)(Maryann Woolsey)BYWILLIAM DUNLAPAmerican 1766-1839 unsigned1812-1814oil on wood panel37 x 27 inches PLEASE EMAIL ME FOR ADDITIONAL PHOTOS!! PROVENANCEMrs. Jared ScarboroughWilliam Woolsey ScarboroughMiss Rebeca ScarboroughFogg Art Museum, Harvard University - 1930(Conservation and Loan)Cincinnati Art Museum 1940-19881988, Deaccessed - Leslie Hindman Auction Services, ChicagoThomas McCormick Gallery, Chicago Lakeside Studio Gallery, Lakeside, Michigan PROVENANCE:In a call to the Fogg Art Museum it was learned – In 1930 this painting was received at the Fogg Museum, Boston, for conservation and remained on loan. The owner was Miss Rebecca Scarborough. In 1940 the painting was acquired by the Cincinnatti Art Museum where it remained until 1988, then being deaccessed through Leslie Hindman Auctions in Chicago. The painting carries both a Fogg museum label and the accession numbers of the Cincinnati Art Museum.The sitter is Maryann Scarborough - 2nd wife of Jared Scarborough. Maryann was the eldest daughter to William W. Woolsey. From all evidence this painting was done as a wedding present to Maryann Woolsey (Mrs. Jared Scarborough), probably commissioned by her father, William Walton Woolsey. The portrait descended in the Scarborough Family of Cincinnati, until it was placed in museums in 1930, and has never been offered on the market.Maryann’s husband was Jared Scarborough, born in Hartford, CT. On Jan 26, 1781, a graduate of Yale College in 1803. Lawyer and Merchant, quartermaster of state of Connecticut in War of 1812 and Captain of Calvary Corps. Their son was William Woolsey Scarborough of Cincinnati, OH. Born at Hartford, Ct., on Aug. 20, 1814, moved to New York in 1830, when only 15. Settled in Cincinnati 1846, merchant and banker there. Married April 18, 1844, Sarah, daughter of John Van Buren of New York and Elizabeth Scott, eldest daughter of Gilbert Aspinwass, Merchant of New York.The artist is William Dunlap (1766-1839), the author of History of the Rise and Progress of the Arts of Design in the United States (1834). Dunlap married Maryann’s father’s sister, which makes Dunlap the sitters Uncle by marriage. Other portraits of the Woolsey family were done by Dunlap in miniature, which are now located in the New York Historical Society (Catalogue of American Portraits in the New York Historical Society, 1941) - portraits include Maryann’s father, William Walton Woolsey (1766-1839) (p.349) her grandmother, Mrs. Benjamin Woolsey, Jr. (1737-1807)(p.348) and her great grandmother, Mrs. Benjamin Woolsey (1695-1771) (P. 348). All painted by William Dunlap.This is no miniature done in passing - rather the sitter would have had to spend much time posing for the portrait. The close proximity and relationship with the Woolsey Family would account for this. Comparison to one of the most successful portraits he did - his wife (p389 Diary) - shows that if given close ties and more time, a great portrait can be had. Dunlap did many fair portraits, but it is with his family members that his talent really is realized. Dunlap had close connections with the Woolsey family from 1789, the year of his marriage, until at the waning years of his life. Some excerpts from his “Autobiography”, included in his History of the Rise and Progress of the Arts of Design in the Untied States. “It was my good fortune, soon after my return, to become a member of a literary society formed by young men for mutual instruction and improvement...so at home I became a Black Friar and a Mason; but happily I was withdrawn from this course by marriage with Elizabeth, the youngest daughter of Benjamin Woolsey, deceased, and Anne his second wife, the daughter of Doctor Muirson. Beside the inestimable blessing of a good wife through a long and checkered life, I obtained the advantage of connection with her relatives, her brother, her sisters and their husbands and friends. (P316 Auto)” “My situation in the theatre became disagreeable not owing to any acts of Mr. Cooper, and in the year 1812..., I relinquished it and again commenced miniature painter....My magazine was a source of trouble and was running me in debt. I took my painting materials and proceeded to Boston with a double view of aiding the periodical, and gaining something by my pencil. I stopped a few days with my brothers in law, president Dwight and William W. Woolsey at New Haven, and painted some miniatures there and at Hartford, where I passed some very pleasant days in August with my Friends Theodore Dwight, Doctor Cogswell and Mr. Scarborough. (P. 323 Auto). In a specific look at the Portrait of Mrs. Jared Scarborough and of Dunlap’s inspiration in composition is the idea of having one arm covered by a red cloth. This seems to have been borrowed from a portrait by Matthew Pratt - Portrait of a Woman - 36x27 Courtesy of Frank S. Schwarz & Son, Philadelphia, Pennsylvania (p669 - in 300 Year of American Art). Dunlap knew Pratt and his work when he went to London to study painting with Benjamin West, where Pratt was also a student In America. Dunlap also made many trips to Philadelphia where Pratt lived out his life. This exact similarity in props brings us to the conclusion that either Pratt must have done the portrait of someone who was very familiar with his work and the Schwarz painting. Maryann sits in a settee of the Empire styling which was the rage of NYC from 1810-1830. One of the chief cabinetmakers of the period was Duncan Phyfe who lived and worked in NYC. Empire styling was to NYC in the early 19th Century, what Chippendale was to Philadelphia in the late 18th Century. As a young woman whose family had much wealth it is only natural that a major portrait such as this would include the latest fashion. The settee is important in giving evidence to the conclusions that this portrait must have been done in NYC, or the vicinity, the family of the sitter had money and knew the latest fashion, and that the time period of the portrait is between 1810 and 1830. Two points must be made about the way Dunlap handles ears and noses; first is that a comparison with other portraits show that most of his ears appear “smudged”. A painterly skill he probably obtained from Stuart; second is the contrast with the hard lines and definition of his noses. In almost all portraits the noses are well defined and modeled. Both of these stylistic tendencies can be seen in the portrait of Maryann.On a final note about the painting itself, is the fact that this is not the only portrait he did on a wood panel. Two portraits from 1829 of John Adams Conanat and has wife (p.122 Met Cat. ) are also on wood panel.Observations of the painting itself gives evidence to the painter being Dunlap and the time period being 1810-1815. Combined with the fact that Dunlap took many opportunities to spend time with the Woolsey family (this is evidenced in his autobiography and diary), and the information that he did portraits of other family members, including Maryann’s father; William Dunlap seems the only logical choice. The reason I believe that it is a wedding portrait are twofold: the time frame is perfect for a major portrait of Maryann to be done. She was married in 1812 or 1813 and all elements lead to a painting date of 1812-1813. Since it was 1812 that Dunlap left the theatre after almost taking out bankruptcy and began painting again for a living. William W. Woolsey, Maryann’s father and close confidant of Dunlap probably figured he could kill two birds with one stone: he could present his soon to be wed eldest daughter with a timeless gift and at the same time help out Dunlap’s financial situation without just giving him money. Criticism of attribution of artist and sitter - since it is not signed in either respect - is that there should be some mention in the literature about the portrait being done. To this I say that there are no exhibition records or auction listings because the painting was never out of the family until it went to Museums who listed it as artist unknown. The painting shouldn’t be on any lists or in any of the literature. The only place any mention of it should be made is by the artist or by the sitter - sitters family. After a review of Dunlap’s extensive writings I find no specific mention of him doing the portrait. My limited research into Maryann’s correspondence does not reveal any mention either. Further research here is required for both parties. If the portrait is not mentioned then all evidence leads to it being by Dunlap. He was a close kin and the Woolseys did not think it a big deal that another, among many, portrait was done of them. The only way to prove that it is not by Dunlap is to have Maryann specifically say so in correspondence or diary. If that would be the case then the artist would be even more important than Dunlap. Make no mistake, this is a tour de force by Dunlap at a time period he and others consider his absolute best. There are two important remarks to this time period in this regard: first is from Theodore Woolsey: “In 1812 Dunlap resumed the painting of miniatures, living in New York, but traveling to New Haven, Hartford, Middletown, Providence, and Boston in pursuit of sitters. Stuart advised him to paint in oil, which he did on his return to New York. “With success beyond my expectation” This was employment for the next two years... (p. 784 American Vasari).” Not only do we have motive, the timing was right, and his best time period as a painter is found in this portrait. Second, is a segment from his autobiography in which he mentions a portrait done by him in 1814 as being the most pleasing he ever did. William W. Woolsey was a great sugar refiner and merchant who held many public offices and trusts. :His son was Theodore Dwight Woolsey who was President of Yale College from 1846-1871. His Daughter Elizabeth was married to William Dunlap which make him Maryann’s uncle by marriage. CONDITION OF BOOK:This painting is in very good condition. Besides a few nicks on the edges of the frame close to the painting, there does not seem to be any damage to this painting. There is an accession number from the Cincinnati Art Museum on both the wood panel and the frame, and a small label from the Fogg Museum, covered over by mylar for protection. The panel is screwed into the painting with what looks like newer wood blocks. I have not removed this painting from the frame. Other than the above stated nicks, I did not notice any other damage to the really lovely ornate frame. PLEASE EMAIL ME IF YOU WOULD LIKE MORE PHOTOS, OR HAVE ANY QUESTIONS!! I HAVE MULTIPLE PHOTOS OF ALL ITEMS LISTED AND AM HAPPY TO SEND THEM!!I AM AVAILABLE ALMOST EVERY WEEKDAY AND CHECK MY EMAIL REGULARLY. SHIPPING AND PAYMENT INFORMATION:THIS WILL REQUIRE SPECIAL SHIPPING AND HANDLING. QUOTES AVAILABLE WHEN DESTINATION AND SHIPPING METHOD DETERMINED INSURANCE REQUIRED ON THIS ITEM Paypal is gladly accepted, all efforts will be made to ship the item the next day. Personal checks (in US currency) will also be accepted, though there will be a 10 business days wait before the item is shipped. Money orders are accepted in US currency, and the item will be shipped the day after the money order is deposited. All items are packed with the utmost care. ANY EXPEDITED OR OVERNIGHT POSTAGE IS THE CUSTOMERS RESPONSIBILITYIF THIS IS A GIFT, PLEASE LET ME KNOW!! I AM HAPPY TO PROVIDE GIFT CARDS, WRAPPING, EXPEDITED SHIPPING AND SHIP TO RECIPIENT SERVICES!!Please email me for further details! RETURNSReturns are always accepted if the customer determines that the item sold is not what was described. I do my best to indicate any damage or repairs or abnormalities in any item, and do my best to determine the origin of works when available. Please contact me if you are not satisfied with your purchase! William Dunlap (1 February 1766-28 September 1839) was a pioneer of the American theater. He was a producer, playwright, and actor, as well as a historian. He managed two of New York's earliest and most prominent theaters, the John Street Theatre (from 1796-98) and the Park Theatre (from 1798-1805). He was also an artist, despite losing an eye in childhood. He was born in Perth Amboy New Jersey, the son of an army officer wounded at Quebec. In 1783, he produced a portrait of George Washington, now owned by the United States Senate, and later studied art under Benjamin West in London. After returning to America in 1787, he worked exclusively in the theater for 18 years, resuming painting out of economic necessity in 1805. By 1817, he was a full-time painter. In his lifetime he produced more than sixty plays, most of which were adaptations or translations from French or German works. A few were original: these were based on American themes and had American characters.   Place a Bid!