During the American Revolutionary war, American native Indian populations were forced to chose sides between the Americans and the British. Joseph Brant (1743-1807), also known by his Mohawk name of Thayendanegea, became one of the most well known American Native military and political leaders of his time. Brant chose to side with the British, who promised to protect Indian lands from American settlers who were pushing deeper and deeper into Indian Territory.
Through his intellectual ability, charm and opportunity (his sister was the consort of Sir William Johnson the British Superintendent of Indian Affairs), Brant rose through the British military ranks—becoming a prominent leader of Indian forces allied to the British in a number of critical Revolutionary war fights.
At the same time through his social abilities and elegant language skills he rose to social prominence in English society. In London to lobby for the protection of Mohawk lands in North America, he was presented at court to George III. He became an instant celebrity and received reassurances of protection for his peoples and their lands. His portraits were commissioned by the British aristocracy. Although he seems to have worn “Anglo clothing” in his daily life, he adopted “Indian dress” in his portraits (full Iroquois chieftain garb, in one portrait by George Romney holding a tomahawk).
From Gilbert Stuart, The Metropolitan Museum of Art by Carrie Rebora Barratt and Ellen G. Miles p 71 on the portrait of Brant commissioned by the Duke of Northumberland:
“Stuart gave Brant a fully modeled visage projecting the strong characterization for which he had become so well known. The limpid eyes, strong nose, resolute mouth, and slightly flaccid jawline describe a man of intelligent determination capable of conciliatory debate. The clothing maintains his nationality and his dignity; over his open collar shirt a cape of small joined silver rings encircles his shoulders, a wide sliver armband is on his right biceps, and four silver bracelets are on his exposed right wrist. …. The silver ornamentation conveys his high rank; some of it was costume embellishment, but most pieces would have been ceremonial gifts. Tied around his neck he wears the gorget from George III on a blue satin ribbon and hanging below that, a medallion portrait of the king in an imposing brass locket. He is, by Stuart’s brush, the exemplification of the savage and noble, an Iroquois statesman ornamented by the British.”
Joseph Brant by Gilbert Stuart 1786
23 1/2 x 24 in oil on canvas
The Northumberland Estates, Alnwick Castle,
Collection of the Duke of Northumberland
A reader of this blog has sent a photo of a portrait of J. Brant (above), and asks if it might be an original Stuart. He lists a few reasons why he thinks it might be.
"I am sending you some images of Joseph Brant that I would appreciate you looking at. I came across your blog while researching this painting. I do realize that he is the most painted and copied native in the world but I do feel there is a possibilty it could be by Stuart.
- bought at auction in Paris Ontario (next town to Brantford)
- on panel which I've heard he did if it was going to Upper Canada due to conditions
- Label on back from framing co. operated from 1886 to 1891 in Leeds England
- it is 11 1/2 by 14"
- I believe I see blue shades in the skin
****
This would be a copy of a portrait of Brant, 30 x 25, now held at the Fenimore Art Mueseum, Cooperstown, N.Y (thought to be an original). Could his be a Stuart original copy, the reader wants to explore the possibility.....
My take, with the help of my portraitist consultant.
This portrait is definitely a copy of the Stuart portrait now at the Fenimore Art Museum (considered to be original, in my opinion it does not look to be a Stuart original. This portrait is not currently used by the experts when discussing Stuart's portrait of Brant). But is it an original copy done by Stuart himself? He is known to have made copies of his own portraits.
The fact that it was sold in a town near Brantford is not special, as Brant was able to settle his people in this area after the British loss to the American rebels. The town was named in honor of this most celebrated warrior/diplomat. But Stuart was the reigning king of portraits (then and now), and to make a copy of his style & of a portrait done by him would be common.
- the first significant clue when determining whether a portrait is done by Stuart (he did not sign his portraits) is the famed Stuart coloring and rendering of the skin tones. When comparing the two portraits above, the facial coloring of my reader's portrait is flat and one-dimensional without any demonstration of Stuart's ability to create the brilliant translucence and transparent hues in the skin tones. The reader's portrait seems to be a predominantly orangish color, but that could be the photography.
- Stuart also uses dashes of this translucence in other more minor features; such as in buttons, lace, or in the case of the Northumberland Stuart portrait above, the "joined silver rings", and in the other ornaments decorating the warrior. The copyist makes a stab at a similar effort without much success.
- in the words of my consultant "the painter copied the picture without understanding the anatomy of the face." The facial structure is squattish, flat and disproportionate.
- Stuart did make copies of his originals. The most famous of his numerous copies are those of George Washington; this was a means to make more money on a portrait that was highly in demand at the time. Although Brant was a well-known figure, he was celebrated only in England and not in America where he was seen as a vicious enemy--thus negating the theory that Stuart would make copies of this portrait in order to increase his income. The size of this portrait is not in keeping with Stuart practice. The copies that Stuart produced were eerily similar to the original, in style, content, and size. He sold them for an exorbitant price.
Conclusion: This portrait sent by my reader is a nice/very good.... but amateur copy.
Portrait of Joseph Brant 1776 by George Romney, oil on canvas, 50 x 39 in.
The National Gallery of Canada, Ottawa
In his right hand is the tomahawk. The Earl of Warwick commissioned this portrait.
For more posts on BRANT click here
and here ---(at this time I thought that my Stuart portrait was of
"Major Samuel Meeker" who in fact is known to have skirmished with Brant.)
***
there is an update to the ownership of this portrait: it was sold in July of 2014
"BY ORDER OF THE 12TH DUKE OF NORTHUMBERLAND AND THE TRUSTEES OF THE NORTHUMBERLAND ESTATES":
Gilbert Stuart---PORTRAIT OF THE MOHAWK CHIEFTAIN THAYENDANEGEA, KNOWN AS JOSEPH BRANT (1742–1807)
Estimate1,000,000 — 1,500,000
Commissioned in 1786 by Hugh Percy, 2nd Duke of Northumberland (1742-1817);
By descent to his son, Hugh Percy, 3rd Duke of Northumberland (1785–1847);
By inheritance to his brother, Algernon Percy, 4th Duke of Northumberland (1792–1865);
By inheritance to his cousin, George Percy, 5th Duke of Northumberland (1778–1867);
By descent to his son, Algernon George Percy, 6th Duke of Northumberland (1810–1899);
By descent to his son, Henry George Percy, 7th Duke of Northumberland (1846–1918);
By descent to his son Alan Ian Percy, 8th Duke of Northumberland (1880–1930), who married Helen Gordon-Lennox (1886–1965), daughter of Charles Gordon-Lennox, 7th Duke of Richmond;
By descent to their second son, Hugh Algernon Percy (1914–1988), who succeeded his brother, the 9th Duke, as 10th Duke of Northumberland in 1940, after he was killed in action whilst serving with the Grenadier Guards during the retreat to Dunkirk;
By descent to his son, Henry Alan Walter Richard Percy, 11th Duke of Northumberland (1953–1995);
By inheritance to his brother, Ralph George Algernon Percy, 12th and present Duke of Northumberland (b. 1956), the current owner.
