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Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia
Cheshire Antiques Consultant LTD

Oil Painting General Robert E. Lee Confederate Commander of The Army Of Northern Virginia

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🎖️Mid-20th Century Oil Portrait of General Robert E. Lee After John Adams Elder (1855–1943)

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Subject & Medium 🖌️
Oil on canvas, entirely hand-painted.
A mid-20th-century oil portrait depicting Confederate General Robert E. Lee, painted after the widely recognised composition by noted portraitist John Adams Elder. This is a fully executed oil painting with visible brushwork and layered pigment, not a print or mechanical reproduction.

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Composition & Technique 🎨
The composition adheres to Elder’s established three-quarter profile format: Lee shown half-length, arms folded, turned slightly to the left against a dark and understated background. The backdrop is built from warm umber and deep brown tonal gradations, subtly blended to create depth while maintaining emphasis on the sitter.

The military coat is rendered in deep navy to near-black tones, articulated with restrained highlights that define structure across the chest and sleeves. The double-breasted uniform features carefully painted brass buttons in muted gold, offering measured contrast against the darker fabric.

A broad leather waist belt in rich reddish-brown hues forms a compositional anchor in the lower register, centred by a circular buckle picked out in warm copper-gold tones.

Facial modelling is handled with controlled transitions of warm ochres and soft pink undertones. The beard and hair are constructed with layered grey and off-white strokes, conveying texture and maturity. Overall execution reflects solid mid-century academic studio practice and a respectful interpretation of Elder’s original prototype.

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About the Sitter 🎖️
Robert Edward Lee (1807–1870) was born into a distinguished Virginia family and graduated second in his class from the United States Military Academy at West Point in 1829. He served with distinction as an engineer officer and gained recognition during the Mexican–American War.

Prior to the Civil War, Lee served as Superintendent of West Point and was involved in the federal response to John Brown’s raid at Harpers Ferry in 1859.

In 1861, following Virginia’s secession, Lee declined command of Union forces and joined the Confederate States Army. As commander of the Army of Northern Virginia, he secured notable victories at the Seven Days Battles, Second Manassas, Fredericksburg and Chancellorsville. His defeat at Gettysburg in 1863 marked a significant turning point, and continued conflict against General Ulysses S. Grant ultimately led to his surrender at Appomattox Court House in April 1865.

After the war, Lee served as president of Washington College (now Washington and Lee University), where he promoted education and post-war reconciliation until his death in 1870.

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Historical Significance 📚
Robert E. Lee remains one of the most recognised and debated figures of the American Civil War. His likeness became central to Southern commemorative imagery in the late 19th and early 20th centuries.

John Adams Elder’s portraits established a dignified and authoritative visual archetype of Lee. Through engravings and printed reproductions, Elder’s composition became widely disseminated and served as the foundation for later painted interpretations, including this 1954 homage created during renewed mid-20th-century interest in Civil War subjects.

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About the Artist 🖋️
Signed C. Wood, 1954 to the reverse.
Although detailed biographical information remains limited, the execution indicates a painter trained in traditional oil techniques, working within established academic portrait conventions. The work demonstrates controlled tonal modelling and compositional fidelity to Elder’s design.

Signed and dated to the reverse: C. Wood, 1954.

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Framed 🖼️
Presented in a later gilt moulded decorative frame. The warm gold finish complements the tonal warmth of the background and the brass detailing of the uniform, enhancing its traditional presentation.

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Size 📏

Canvas:
30 cm high × 21 cm wide

Frame:
38 cm high × 29 cm wide × 2.5 cm deep

An appealing cabinet-scale format suitable for a study, library, or Civil War collection.

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Provenance 🔍
Private collection.
Curated by Cheshire Antiques Consultant LTD.

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Why You’ll Love It ⭐
• Fully hand-painted oil on canvas
• Signed and clearly dated 1954
• Faithful to a recognised Elder composition
• Rich and restrained Civil War palette
• Carefully detailed military uniform
• Decorative gilt frame ready for display
• Compact and collector-friendly cabinet size

A historically referential and visually balanced portrait combining decorative presence with established Civil War iconography.

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Condition Report 🧾
Canvas structurally sound.
Areas of paint loss, surface fading and scuffing consistent with age and handling. The painting displays satisfactorily at normal viewing distance. The later gilt frame shows age-related wear, including minor chips and surface marks.


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