TEXTURED PANELS IN 19TH-CENTURY AMERICAN PAINTING
1. A catalog of works by Samuel L. Waldo and William Jewett is in progress by the author.
2. The data presented on the use of wood supports by Stuart, Jarvis, King, Ames, Waldo, and Waldo and Jewett are based on entries in previously cited catalogs or checklists in which the support is known and a date is given or approximated.
3. Sully did not record the type of support used in his paintings in his account books, but specific portraits on wood can be compared with those on canvas of the same year. He did recommend oak and straight-grained mahogany as best woods for panels. Poplar he considered a “treacherous material and when used should be painted on the back and edges.” Sully noted that Stuart liked basswood and baywood which “does not split or is apt to wharp [sic].” “Incidents in the Life of Thomas Sully,” photocopy of unpublished manuscript (New York: Frick Art Reference Library), 205.
4. George Washington, ca. 1810–15; Thomas Jefferson, ca. 1810–15; James Madison, ca. 1810–15; James Monroe, ca. 1817; and John Adams ca. 1825.
5. Textured panels by Alvan Fisher, William Dunlap, and Raphaelle Peale, contemporaries of the artists mentioned in this paper, also have been identified.
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MARCIA GOLDBERG received her B.A. degree from the University of Iowa and her M.A. in art history from Oberlin College. She is currently an affiliate scholar at Oberlin. She has published papers in art history journals on 19th-century American art and artists. The research on textured panels resulted from an observation made during her work on a monograph on the artists Samuel Lovett Waldo and William Jewett, portrait painters in New York City during the early decades of the last century. Address: 383 Elm St., Oberlin, Ohio 44074.