John Vanderlyn (New York, 1775-1852) ink wash, conte crayon and graphite oval portrait, possibly Thomas Jefferson, signed in pencil, “J. Vanderlyn,” in margin lower left, and in pencil “at Paris 1804,” in lower right margin. Paris, France artist supply store label en verso (partially hidden by brown tape). Oval image – 8-1/2″ x 6-1/2″. Oval image with border – 9-11/16″ x 7-1/2″. Board – 10-3/4″ x 8-1/2″. Framed – 15″ x 12-3/4″ x 2″ D. Early 19th century two-inch wide giltwood and composition frame having concave outer edge, applied acanthus and palmette decoration, concave burnished band and bead course interior edge. Note: A similar image of Thomas Jefferson at about this age can be seen on a Staffordshire historical transferware pitcher sold at Northeast Auctions, August 21-22, 2010, lot 765. See the link to this pitcher at: http://northeastauctions.com/product/thomas-jefferson-and-american-eagle-english-creamware-black-transfer-printed-jug-probably-staffordshire-circa-1801-08/. Biography: Born and raised in New York, John Vanderlyn was known as a painter of portraits and landscapes. He studied art in Paris twice, in 1796-1800 and again in 1803-1804 (during the time Jefferson served as President) before traveling to Italy. He had training in Neo-Classicism as espoused by Jacques-Louis David and Jean-Auguste Ingres. It was a style of “strong line, especially in the molding of figures, somber coloration, and an adherence to antique and mythological subjects or poses.” (sources: Zellman 81; Askart). The practice of painting portraits of important figures of the day from other sources (often oil portraits or even engraved prints from oils) was common in the Federal era. In fact, Vanderlyn’s later oil portrait of Andrew Jackson would become the basis for a number of paintings and prints done “after” his work. The Jefferson Papers connect Jefferson and Vanderlyn with a notation of a purchase of a pair of prints by the President from Vanderlyn on 31 December, 1805, however, those are believed to have been landscapes. CONDITION: Portrait: in need of conservation. Scattered foxing and discoloration; insect damage along upper border area. 3/8″ tear upper left in background. 7/16″ L paper loss with hole on subject’s jacket below a 7/8″ L white abrasion. Overall surface grime. Frame: Two loose braces on back and one missing brace. Losses to gilding on all sides. Older one-inch molding loss lower right edge.