Lot Essay
Related Literature:
W.H. Gerdts, The Art of Henry Inman, National Portrait Gallery, Washington, D.C., 1987, pp. 17, 88, cat. no. 26
A. Ford, John James Audubon: A Biography, New York, 1988, pp. 303, 305
The present work is most likely based on Henry Inman's original portrait of the artist which was painted sometime between 1831, when Audubon returned from Europe, and 1833 when the original was shown at the National Academy of Design. The publication, in England, of The Birds of America, ran from 1827 to 1838 and it was this great work which made him famous on both sides of the Atlantic.
In his 1987 essay for the National Portrait Gallery's exhibition catalogue The Art of Henry Inman Dr. William Gerdts discussed Inman's portrait:
"Inman painted Audubon's portrait at the peak of the ornithologist's career and captured, rather remarkably, not only his appearance but the essence of his popularity, rendering him with birdlike, beady eyes and a noble, hawklike stare. Contemporaries described Audubon precisely as Inman portrayed him. In about 1833 Martha Pope, the wife of one of Audubon's hunting friends, wrote: 'Audubon was one of the handsomest men I ever saw. In person he was tall and slender, his blue eyes were an eagle's in brightness...his hair a beautiful chestnut brown, very glossy and curly.'" (Gerdts, p. 88)
Whether this portrait was painted by a student of Inman's, or under Inman's supervision, can only be conjectured, but this work, like the original, seems to capture not only the likeness of Audubon, but his spirit as well. Inman's original portrait received perhaps the highest praise of all. "His (Audubon's) mind on Labrador, he rushed about New York and Philadelphia to collect what little equipment he could. Between times he sat for a likeness by Henry Inman; he pronounced it the truest ever. Inman, sometimes accused of flattering his subjects, saw before him and portrayed faithfully a man of great physical strength and sensitivity." (Ford, pp. 303, 305)
W.H. Gerdts, The Art of Henry Inman, National Portrait Gallery, Washington, D.C., 1987, pp. 17, 88, cat. no. 26
A. Ford, John James Audubon: A Biography, New York, 1988, pp. 303, 305
The present work is most likely based on Henry Inman's original portrait of the artist which was painted sometime between 1831, when Audubon returned from Europe, and 1833 when the original was shown at the National Academy of Design. The publication, in England, of The Birds of America, ran from 1827 to 1838 and it was this great work which made him famous on both sides of the Atlantic.
In his 1987 essay for the National Portrait Gallery's exhibition catalogue The Art of Henry Inman Dr. William Gerdts discussed Inman's portrait:
"Inman painted Audubon's portrait at the peak of the ornithologist's career and captured, rather remarkably, not only his appearance but the essence of his popularity, rendering him with birdlike, beady eyes and a noble, hawklike stare. Contemporaries described Audubon precisely as Inman portrayed him. In about 1833 Martha Pope, the wife of one of Audubon's hunting friends, wrote: 'Audubon was one of the handsomest men I ever saw. In person he was tall and slender, his blue eyes were an eagle's in brightness...his hair a beautiful chestnut brown, very glossy and curly.'" (Gerdts, p. 88)
Whether this portrait was painted by a student of Inman's, or under Inman's supervision, can only be conjectured, but this work, like the original, seems to capture not only the likeness of Audubon, but his spirit as well. Inman's original portrait received perhaps the highest praise of all. "His (Audubon's) mind on Labrador, he rushed about New York and Philadelphia to collect what little equipment he could. Between times he sat for a likeness by Henry Inman; he pronounced it the truest ever. Inman, sometimes accused of flattering his subjects, saw before him and portrayed faithfully a man of great physical strength and sensitivity." (Ford, pp. 303, 305)