Lot Essay
Found in New Orleans in the late 1960s, this portrait is an exceptionally rare likeness of a person of color from antebellum America. From the refinement of its execution to the sitter’s elegant garb, the work conveys a young gentleman of means and social stature. It also an important document of a largely overlooked segment of American society during this period—people of Black or mixed race heritage who were born free or attained their freedom later in life. Many were able to prosper financially and contribute to the cultural vitality of their larger communities, but remained far from equal to their white neighbors. In New Orleans, free people of color enjoyed a relatively high level of acceptance. The city was the largest port in the country at the time and its pluralistic society included large numbers of Indigenous, French, Spanish, Congolese and Haitian peoples. A coarse backing applied to the early relining of the portrait bears a stencil that in part appears to read, “SACS,” possibly the word “bags” in French and suggests a long history in New Orleans.
Furthermore, as indicated by its style and the sitter’s dress, the portrait dates from about 1830 to 1850 and bears parallels to works by New Orleans artists from this time period. The portrait was included to illustrate context in the 2011 pioneering exhibition on Julien Hudson (1811-1844), considered America’s second earliest professional Black artist (after Joshua Johnson of Baltimore) (See Exhibition above). Its pose, austerity and stark background are similar to Portrait of a Creole Gentleman from the 1830s at the Dallas Museum of Art (acc. no. 2006.55). Also significant is the portrait’s diminutive size, a format frequently favored in the city during this time. This may be in part due to the influence of the Italian-born husband-and-wife team of miniature painters Antonio and Nina Meucci. Hailing from Rome, the duo practiced and taught in New Orleans in the late 1810s and 1820s and trained several students, including Hudson.
Furthermore, as indicated by its style and the sitter’s dress, the portrait dates from about 1830 to 1850 and bears parallels to works by New Orleans artists from this time period. The portrait was included to illustrate context in the 2011 pioneering exhibition on Julien Hudson (1811-1844), considered America’s second earliest professional Black artist (after Joshua Johnson of Baltimore) (See Exhibition above). Its pose, austerity and stark background are similar to Portrait of a Creole Gentleman from the 1830s at the Dallas Museum of Art (acc. no. 2006.55). Also significant is the portrait’s diminutive size, a format frequently favored in the city during this time. This may be in part due to the influence of the Italian-born husband-and-wife team of miniature painters Antonio and Nina Meucci. Hailing from Rome, the duo practiced and taught in New Orleans in the late 1810s and 1820s and trained several students, including Hudson.