Related Records

1. Gilt frame for John Tayloe III - Original circular gold federal style frame. The frame is made up of a glass piece, a mat, a piece of card, and a backing that was glued to the frame itself. The backing has a number of things added to it: a painters pallet with the framing information, black ink that reads 'One of the Langhornes?,' along with the faint etching that is mostly illegible, but below is what it looks to be: Left side: John Tayloe's George Pater Tayloe built Buena Vista Roanoke Right side: John Tayloe 1771-1828 m. Ann Ogle [illeg] G. Benj- amin Ogle [illeg]

   1972.06.9.2

   Record Type: Object

   
2. John Tayloe III - 1806

   Mezzotint and engraving in black on wove paper mounted to brown wove paper of John Tayloe III by French artist, Charles B. J. Févret de Saint-Mémin. Portrait was originally framed in a circular gold federal style frame, but has been removed. Frame is 1972.6.9.2 From the National Portrait Gallery: Between 1796 and 1810, Charles Balthazar Julien Févret de Saint-Mémin (1770-1852) created some of the most memorable images in the histor...

   Record Type: Archive

   
3. John Tayloe III - Reproduction mezzotint of John Tayloe III by French artist, Charles B. J. Févret de Saint-Mémin in our collection, 1972.06.9.1. Reproduction has been placed in a beige circular mat and inset into a gold painted wooden frame. From the National Portrait Gallery: Between 1796 and 1810, Charles Balthazar Julien Févret de Saint-Mémin (1770-1852) created some of the most memorable images in the history of American portraiture. Nearly a thousand Americans sat for portraits, among them Thomas Jefferson, Paul Revere, Mother Seton, Meriwether Lewis, and Charles Willson Peale. Saint-Mémin's popularity rested on a growing appreciation for profiles as a particularly truthful form of portraiture, and his distinctive images have come to epitomize Federal America. A member of the French hereditary nobility, Saint-Mémin came to New York City in 1793, at the age of twenty-three. He was a former military officer exiled by the events of the French Revolution. In New York, Saint-Mémin turned to the arts to support himself, his parents, and his sister. With some training in drawing and an aptitude for precision, he taught himself the art of engraving. First, he made a few landscapes and city plans. Then, in 1796 he took up the profession of portraitist. His partner was Thomas Bluget de Valdenuit (1763-1846), also of the French military.

   1972.06.9.4

   Record Type: Object

   
4. John Tayloe III - Reproduction mezzotint of John Tayloe III by French artist, Charles B. J. Févret de Saint-Mémin in our collection, 1972.06.9.1. Reproduction has been placed in a beige circular mat and inset into a gold painted wooden frame. From the National Portrait Gallery: Between 1796 and 1810, Charles Balthazar Julien Févret de Saint-Mémin (1770-1852) created some of the most memorable images in the history of American portraiture. Nearly a thousand Americans sat for portraits, among them Thomas Jefferson, Paul Revere, Mother Seton, Meriwether Lewis, and Charles Willson Peale. Saint-Mémin's popularity rested on a growing appreciation for profiles as a particularly truthful form of portraiture, and his distinctive images have come to epitomize Federal America. A member of the French hereditary nobility, Saint-Mémin came to New York City in 1793, at the age of twenty-three. He was a former military officer exiled by the events of the French Revolution. In New York, Saint-Mémin turned to the arts to support himself, his parents, and his sister. With some training in drawing and an aptitude for precision, he taught himself the art of engraving. First, he made a few landscapes and city plans. Then, in 1796 he took up the profession of portraitist. His partner was Thomas Bluget de Valdenuit (1763-1846), also of the French military.

   1972.06.9.5

   Record Type: Object