Portrait of Mrs. Luke White and Her Son, circa 1790
Oil on canvas, oval
30 x 24 5/8 inches
By descent in the White family in Ireland
Scott & Fowles, New York, acquired from the above, 1920
Ehrich Galleries, New York, 1930
Mrs. James B. Higgin, New York, acquired from the above
Wildenstein and Newhouse Gallery, New York, by 1932
Leroy Ireland, acquired at auction, circa 1940
Ernest Closuit, Fort Worth, Tx, acquired from the above, 1944
Southern Methodist University, Dallas, TX, acquired from the above, 1959
Morton A. Kornreich, Harrison, NY, by circa 1980
Lawrence Park, Gilbert Stuart: An Illustrated Descriptive List of his Works, with an Account of his Life by John Hill Morgan and an Appreciation by Royal Cortissoz, New York, 1926, vol. II, p. 808, no. 904; vol. IV, p. 569, no. 904, illus.; lists the present work as a replica by Stuart after cat. no. 903, (which is today considered a copy after Stuart)
Texas Monthly, Aug., 1976, p. 153, listing for Valley House Gallery, Dallas, TX, which appears to have exhibited the present work
This beautiful double portrait depicts Elizabeth de la Maziere, of Dublin, who married Luke White in 1781. The identity of the small boy who tenderly embraces his mother, is uncertain. Tradition held that it depicted Mrs. White's youngest son, Henry, who was created Baron Annaly in 1863, but the possibility exists that it may instead depict her second son, Samuel. A portrait described by Lawrence Park (no. 903, p. 569, vol. II) as the original from which Stuart painted the present work, presently in the permanent collection of the Toledo Museum of Art, is now believed to be a copy. It appears that the location of the original double portrait is unknown.
Additional Notes & Condition Report
Trimmed to the tacking edge and wax lined. European stretcher. The perimeter of the painted oval appears to have been reinforced. There is a repaired irregularly shaped tear with an area of inpaint roughly 1 1/2 x 1 1/2 inches in the background above the child's head. There are touches of inpaint in the mother's proper left eyelid, the child's proper right cheek, and the mother's hand. There are also a few very light touches of scattered inpaint in the background. A possible earlier phase or restoration is difficult to detect, but there may be some inpaint in the mother's forehead and her proper right sleeve.
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