{"product_id":"thomas-jefferson-1743-1826-historical-oil-portrait-after-gilbert-stuart","title":"Thomas Jefferson (1743–1826) Historical Oil Portrait After Gilbert Stuart","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThomas Jefferson (1743–1826) Historical Oil Portrait by Henry Callan After Gilbert Stuart, Circa 1990\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn accomplished circa 1990 oil-on-canvas portrait depicting Thomas Jefferson (1743–1826), one of the principal architects of American independence and third President of the United States. Painted by Henry Callan after the portraiture of Gilbert Stuart (1755–1828), the work retains an identifying inscription at the lower right and two Buckingham Fine Arts supplier stamps on the reverse. Its ornate gilt-finished frame provides a substantial traditional presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHighlights\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOriginal circa 1990 oil-on-canvas historical portrait.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003ePainted by Henry Callan, 20th-century artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eDepicts Thomas Jefferson (1743–1826), American Founding Father and President.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eAfter Gilbert Stuart (1755–1828), influential American portrait painter.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eInscribed \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThomas Jefferson By Henry Callan\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, lower right.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eTwo Buckingham Fine Arts supplier stamps retained on the reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eComparative research identifies other historical portraits associated with Henry Callan.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eTraditional portrait composition with silver-grey hair, white neckcloth and dark coat.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOrnate gilt-finished frame with raised floral and foliate ornamentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eFramed dimensions: 63 cm wide × 73 cm high × 5 cm deep.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eCanvas dimensions: 51 cm wide × 61 cm high.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOriginal inscription and supplier stamps documented photographically.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIntroduction\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA distinguished late-20th-century interpretation of Thomas Jefferson, whose political career, intellectual achievements and architectural interests helped shape the early United States.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainted circa 1990, Henry Callan's portrait draws upon the established tradition of Gilbert Stuart's presidential likenesses, presenting Jefferson in formal historical dress with a composed expression and carefully modelled facial features.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is particularly interesting for its surviving inscription and Buckingham Fine Arts supplier stamps, which contribute to its documentary record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts traditional oil technique and elaborate gilt frame combine historical subject matter with an imposing decorative presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCatalogue Details\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist: Henry Callan, 20th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter: Gilbert Stuart (American, 1755–1828).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTitle: \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePortrait of Thomas Jefferson (1743–1826)\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDate: Circa 1990.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMedium: Oil on canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInscription: \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThomas Jefferson By Henry Callan\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, lower right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSubject: Thomas Jefferson, third President of the United States.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal composition: After Gilbert Stuart; exact source version unconfirmed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrame: Ornate gilt-finished moulded frame.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReverse: Two Buckingham Fine Arts supplier stamps.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCanvas: 51 cm wide × 61 cm high.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFramed: 63 cm wide × 73 cm high × 5 cm deep.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCatalogue Note\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting presents Jefferson in a bust-length portrait, his head slightly turned while his gaze engages the viewer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis silver-grey hair is arranged in softly curling locks, with individual strands highlighted against the subdued background.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCallan carefully differentiates the warm flesh tones of Jefferson's face from the darker colours of his formal coat.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA high white neckcloth, gathered at the throat, provides a prominent visual contrast and reinforces the historical character of the costume.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sitter's features are constructed through delicate transitions between light and shadow, particularly around the brow, nose, cheeks and mouth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe background incorporates muted browns and greys, allowing the figure to emerge from a restrained atmospheric setting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCallan's interpretation reflects the visual conventions of early American portrait painting, especially the formal compositions associated with Gilbert Stuart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe work should be understood as a circa 1990 painting after a historical source, rather than a contemporary portrait of Jefferson.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThomas Jefferson (1743–1826) – American Statesman, President and Scholar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThomas Jefferson was born on 13 April 1743 at Shadwell, Virginia, then part of British colonial America.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe was educated at the College of William \u0026amp; Mary and subsequently studied law.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis intellectual interests encompassed classical philosophy, political theory, architecture, science, agriculture, music and literature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJefferson entered the Virginia legislature during a period of increasing political tension between Britain and its American colonies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1776, he was appointed to the committee responsible for preparing the Declaration of Independence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs principal drafter, Jefferson composed the document adopted on 4 July 1776, articulating influential ideas concerning individual rights, equality and government by consent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFollowing independence, Jefferson served as Governor of Virginia between 1779 and 1781.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe later travelled to France, where he represented the United States as Minister from 1785 until 1789.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis residence in Europe influenced his architectural interests and exposed him to contemporary intellectual and political developments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJefferson became the first United States Secretary of State in 1790, serving under President George Washington.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe subsequently held the office of Vice President during John Adams's administration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFollowing the election of 1800, Jefferson became the third President of the United States and took office in March 1801.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis two presidential terms were marked by significant territorial expansion, diplomatic developments and political change.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Louisiana Purchase of 1803 was among the most consequential achievements of his administration, acquiring extensive territory from France.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJefferson also commissioned the expedition led by Meriwether Lewis and William Clark, which travelled across western North America between 1804 and 1806.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeyond his political career, Jefferson was deeply committed to architecture and education.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis residence at Monticello was designed and repeatedly modified according to his architectural interests, drawing inspiration from classical European traditions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1819, Jefferson founded the University of Virginia and helped design its distinctive academic village.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMonticello and the University of Virginia are recognised together as a UNESCO World Heritage Site.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJefferson's historical reputation also requires acknowledgement of slavery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDespite the ideals expressed in the Declaration of Independence, Jefferson enslaved hundreds of people during his lifetime, and this contradiction remains central to modern historical interpretation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe died at Monticello on 4 July 1826, exactly fifty years after the adoption of the Declaration of Independence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Adams, Jefferson's political contemporary and longstanding correspondent, died on the same day.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJefferson's enduring historical importance has ensured that his likeness remains widely represented in American art, literature, architecture and public collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Original Artist – Gilbert Stuart (1755–1828)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGilbert Charles Stuart was born in Rhode Island in 1755 and became one of the leading American portrait painters of his generation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis early career took him to Britain, where he studied under Benjamin West and developed his portrait-painting technique.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eStuart established a successful practice in London before working in Ireland and eventually returning to America in 1793.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis return coincided with the early years of the United States as an independent republic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe demand for portraits of political leaders provided Stuart with important commissions, and he became closely associated with the visual representation of the nation's founding generation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong his sitters were George Washington, John Adams, Thomas Jefferson and James Madison.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis portraits are distinguished by naturalistic facial modelling, carefully observed expressions and refined transitions of light.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eStuart's unfinished Athenaeum portrait of George Washington became one of the most widely reproduced presidential images in American history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe also painted Jefferson in 1800 and again in 1805.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough the original 1800 Jefferson likeness is not known to survive, related versions and later portraits preserve Stuart's interpretation of the sitter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eImportant examples associated with his Jefferson portraiture are held in American institutional collections, including the National Gallery of Art, Colonial Williamsburg and collections connected with Monticello and the Smithsonian National Portrait Gallery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present work by Henry Callan belongs to the later tradition of paintings after Stuart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise historical version used as Callan's source remains unconfirmed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Artist – Henry Callan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHenry Callan is recorded in the international art market as a 20th-century painter whose work includes interpretations of historical portrait compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis paintings demonstrate an interest in established portrait imagery, particularly subjects associated with earlier British and American artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded examples include portraits after Thomas Gainsborough, such as Lady Sheffield and Juliana Howard, Baroness Petre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA further comparison is a portrait of President James Madison after John Vanderlyn, attributed to Callan and described by a dealer as dating from circa 1990.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Madison portrait is particularly relevant because its reported canvas measures approximately 24 × 20 inches, closely corresponding to the present Jefferson painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis similarity in format, subject matter and approximate dating raises the possibility that Callan produced a group of historical American presidential portraits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, there is currently no independent documentation establishing a formal commission or complete series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCallan's precise birth and death dates, artistic education and exhibition history have not been verified.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painted inscription on the present work remains an important primary source for its attribution.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal Artist's Inscription\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lower-right corner contains a reddish-brown painted inscription identifying the sitter and artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eThomas Jefferson\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eBy\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eHenry Callan\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lettering is incorporated into the painted surface against the darker area of the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts form and placement have been recorded in close-up photographs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe inscription supports the identification of Henry Callan as the painter named on the work, although independent documentation of its original commission has not been located.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBuckingham Fine Arts – Original Supplier Stamps\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse retains two stamps associated with Buckingham Fine Arts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne appears on the wooden stretcher, while another is visible on the backing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stamps read:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eSUPPLIED BY:\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eBUCKINGHAM FINE ARTS\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e(0773) 765465\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese marks provide physical evidence of the painting's association with a commercial fine art supplier.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey may relate to the work's original sale, distribution or framing history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe exact circumstances of their application have not been independently verified.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eResearch has identified a British business operating under the related name Buckingham Fine Art Publishers Limited, although no conclusive connection with the stamped supplier has been established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe marks are therefore recorded as evidence of a Buckingham Fine Arts supplier association rather than proof of a particular commission or complete ownership history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProvenance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuckingham Fine Arts, supplier association indicated by the two reverse stamps.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSubsequent ownership history not fully documented.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresent collection, Cheshire Antiques Consultant LTD®.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original commission, precise circumstances of supply and complete intervening provenance remain unverified.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExhibition History\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo independently verified exhibition history has been identified for the present painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical compositions by Gilbert Stuart are represented in important American collections, but these institutional holdings should not be confused with an exhibition record for Callan's later interpretation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrame and Presentation\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe portrait is housed in an ornate gilt-finished frame with a substantial moulded profile.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRaised floral and foliate decoration, scrolling details, shaped edges and prominent ornamental cartouches contribute to its traditional appearance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe warm gold-toned finish complements the subdued colours of the portrait, providing contrast with Jefferson's dark clothing and pale complexion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse retains the wooden stretcher, canvas turnover, backing construction and two Buckingham Fine Arts stamps.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise maker and date of the frame have not been independently established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFramed: 63 cm Wide × 73 cm High × 5 cm Depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCanvas: 51 cm Wide × 61 cm High.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApproximate framed dimensions: 24.8 inches Wide × 28.7 inches High × 2 inches Deep.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApproximate canvas dimensions: 20.1 inches Wide × 24 inches High.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe oil painting is presented in attractive overall visual condition, retaining its detailed composition, original painted inscription and visible brushwork.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMinor surface dust, scattered white specks, light scuffs and superficial marks are visible, particularly within the darker background. No obvious significant paint loss, major cracking or canvas tears are apparent from the photographs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe ornate gilt-finished frame displays minor chips, rubbing, surface marks and areas of wear to the gilding, particularly around the raised decorative ornamentation and edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse retains the wooden stretcher, backing and two Buckingham Fine Arts supplier stamps.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo independent conservation examination has been undertaken, and previous restoration cannot be excluded. Please examine the detailed photographs, which form an integral part of the condition description.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePublished References and Primary Sources\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNational Gallery of Art, Washington, D.C., Gilbert Stuart, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThomas Jefferson\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, circa 1821, accession number 1986.71.1.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSmithsonian National Portrait Gallery and Thomas Jefferson Foundation, collection information concerning Gilbert Stuart's \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eEdgehill Portrait\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eColonial Williamsburg, historical records concerning Gilbert Stuart's portrait of Thomas Jefferson.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThomas Jefferson Foundation, Monticello, biographical and historical material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe White House Historical Association, historical information concerning early American presidential portraiture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDarley Auctions, Henry Callan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLady Sheffield\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, after Thomas Gainsborough.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEBTH, Henry Callan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eJuliana Howard, Baroness Petre\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, after Thomas Gainsborough.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1stDibs, Henry Callan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePortrait of President James Madison\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, after John Vanderlyn, described as circa 1990.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal painted inscription, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThomas Jefferson By Henry Callan\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, lower right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal Buckingham Fine Arts supplier stamps on the stretcher and backing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePhotographic documentation of the painting, inscription, frame and reverse, November 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eShipping\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWorldwide shipping is available.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOwing to the framed presentation of the artwork, it will be professionally packaged using appropriate protective materials and dispatched fully insured.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInternational buyers are welcome. Please contact us for a destination-specific delivery quotation or to discuss any particular shipping requirements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Sale \u0026amp; Dealer Attribution\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artwork will be supplied with a Certificate of Sale \u0026amp; Dealer Attribution issued by Cheshire Antiques Consultant LTD®, recording the artwork's catalogue details, attribution, provenance as stated, exhibition history and details of the sale. This document accompanies the work as part of its ongoing ownership and provenance record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAttribution and Research\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical observations, provenance research, attribution analysis, dating and contextual commentary presented within this catalogue entry represent the professional opinion of Cheshire Antiques Consultant LTD®. They are offered in good faith as informed scholarly assessments based upon the available physical evidence, historic inscriptions, comparative research, published reference material and our experience within the international fine art market.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese observations should be understood as professional opinions rather than definitive guarantees of authorship, attribution, date, origin, provenance or historical interpretation. The identification of Henry Callan is supported by the painted inscription, while the Buckingham Fine Arts association is evidenced by the supplier stamps on the reverse. The precise commissioning circumstances and exact Gilbert Stuart source composition remain unverified. As with all works of art, future documentary discoveries or additional information may refine or expand current interpretations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCheshire Antiques Consultant LTD®\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpecialising in carefully curated British and European fine art, antiques and historic works of art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvery artwork is professionally researched and catalogued using comparative scholarship, published reference material and more than two decades of experience within the international fine art market. We are committed to offering collectors works of artistic and historical merit accompanied by transparent provenance research, detailed catalogue descriptions and professional, client-focused service.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdditional photographs and further information are available upon request.\u003c\/span\u003e\u003c\/p\u003e","brand":"Cheshire Antiques Consultant LTD","offers":[{"title":"73 x 63 cm","offer_id":57520740335994,"sku":"CAK-SK-5029","price":8000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0201\/2227\/1808\/files\/IMG_1541.jpg?v=1793824459","url":"https:\/\/cheshireantiquesconsultantltd.com\/ga-es\/products\/thomas-jefferson-1743-1826-historical-oil-portrait-after-gilbert-stuart","provider":"Cheshire Antiques Consultant LTD","version":"1.0","type":"link"}